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ALLORI Alessandro
Italian Mannerist Painter, 1535-1607 Born in Florence. After the death of his father in 1540 he was brought up and trained in art by a close friend, often referred to as his 'uncle', the mannerist painter Agnolo Bronzino, whose name he sometimes assumed in his pictures. In some ways, Allori is the last of the line of prominent Florentine painters, of generally undiluted Tuscan artistic heritage: Andrea del Sarto worked with Fra Bartolomeo (as well as Leonardo Da Vinci), Pontormo briefly worked under Andrea, and trained Bronzino, who trained Allori. Subsequent generations in the city would be strongly influenced by the tide of Baroque styles pre-eminent in other parts of Italy. Freedburg derides Allori as derivative, claiming he illustrates "the ideal of Maniera by which art (and style) are generated out of pre-existing art." The polish of figures has an unnatural marble-like form as if he aimed for cold statuary. It can be said of late phase mannerist painting in Florence, that the city that had early breathed life into statuary with the works of masters like Donatello and Michelangelo, was still so awed by them that it petrified the poses of figures in painting. While by 1600 the Baroque elsewhere was beginning to give life to painted figures, Florence was painting two-dimensional statues. Furthermore, in general, with the exception of the Contra Maniera artists, it dared not stray from high themes or stray into high emotion.

 

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ALLORI Alessandro Susanna and the Elders oil painting

Painting ID::  73136

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ALLORI Alessandro
Susanna and the Elders
Date Medium Oil on canvas Dimensions 202 X 117 cm (79.53 X 46.06 in) cyf
   
   
     

 

 

ALLORI Alessandro Maria de Medici oil painting

Painting ID::  74234

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ALLORI Alessandro
Maria de Medici
Date Deutsch: um 1555 Medium Deutsch: Öl auf Pappelholz Dimensions Deutsch: 114,5 x 89,5 cm cyf
   
   
     

 

 

ALLORI Alessandro Portrait of a Florentine Nobleman oil painting

Painting ID::  76233

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ALLORI Alessandro
Portrait of a Florentine Nobleman
Date 16th century Medium Oil on panel Dimensions 70 ?? 55 cm (27.6 ?? 21.7 in) c yf
   
   
     

 

 

ALLORI Alessandro Preaching of St John the Baptist oil painting

Painting ID::  77195

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ALLORI Alessandro
Preaching of St John the Baptist
Date between 1601(1601) and 1603(1603) Medium Oil on copper Dimensions Width: 47 cm (18.5 in). Height: 39 cm (15.4 in). cyf
   
   
     

 

 

ALLORI Alessandro Portrait of a Florentine Lady oil painting

Painting ID::  84317

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ALLORI Alessandro
Portrait of a Florentine Lady
16th century Medium Oil on panel Dimensions 54.6 x 42.3 cm (21.5 x 16.7 in) cyf
   
   
     

 

 

ALLORI Alessandro Pearl Fishers oil painting

Painting ID::  86291

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ALLORI Alessandro
Pearl Fishers
Oil on slate, 116 x 86 cm cyf
   
   
     

 

 

ALLORI Alessandro Portrait of Bianca Cappello oil painting

Painting ID::  96471

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ALLORI Alessandro
Portrait of Bianca Cappello
16th century Medium oil cyf
   
   
     

 

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ALLORI Alessandro
Italian Mannerist Painter, 1535-1607 Born in Florence. After the death of his father in 1540 he was brought up and trained in art by a close friend, often referred to as his 'uncle', the mannerist painter Agnolo Bronzino, whose name he sometimes assumed in his pictures. In some ways, Allori is the last of the line of prominent Florentine painters, of generally undiluted Tuscan artistic heritage: Andrea del Sarto worked with Fra Bartolomeo (as well as Leonardo Da Vinci), Pontormo briefly worked under Andrea, and trained Bronzino, who trained Allori. Subsequent generations in the city would be strongly influenced by the tide of Baroque styles pre-eminent in other parts of Italy. Freedburg derides Allori as derivative, claiming he illustrates "the ideal of Maniera by which art (and style) are generated out of pre-existing art." The polish of figures has an unnatural marble-like form as if he aimed for cold statuary. It can be said of late phase mannerist painting in Florence, that the city that had early breathed life into statuary with the works of masters like Donatello and Michelangelo, was still so awed by them that it petrified the poses of figures in painting. While by 1600 the Baroque elsewhere was beginning to give life to painted figures, Florence was painting two-dimensional statues. Furthermore, in general, with the exception of the Contra Maniera artists, it dared not stray from high themes or stray into high emotion.