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ALLORI Alessandro
Portrait of a Young Man hgjgh
Oil on canvas transferred from wood, 117 x 87,5 cm
The Hermitage, St. Petersburg
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ALLORI Alessandro
The Body of Christ with Two Angels
Oil on copper, 45 x 39 cm
Museum of Fine Arts, Budapest
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ALLORI Alessandro
Portrait of a Woman hhhy
1570-90
Oil on copper, 37 x 27 cm
Galleria degli Uffizi, Florence
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ALLORI Alessandro
Allegory of Human Life kig
1570-90
Oil on copper, 37 x 27 cm
Galleria degli Uffizi, Florence
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ALLORI Alessandro
St Peter Walking on the Water
1590s
Oil on copper, 47 x 40 cm
Galleria degli Uffizi, Florence
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ALLORI Alessandro
Venus and Cupid
Oil on wood
Mus??e Fabre, Montpellier
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ALLORI Alessandro
Madonna and Child
mk65
Oil on canvas
51x45"
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ALLORI Alessandro
Portrait of Barbara Pallavicino
mk67
Oil on panel
18 5/16x13 3/4in
Uffizi,Gallery.
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ALLORI Alessandro
The Annunciation
mk67
Oil on canvas
63 3/4x40 9/16in
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ALLORI Alessandro
The Baptism of Christ
mk67
Oil on panel
65 1/8x38 3/16in
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ALLORI Alessandro
Hercules Crowned by the Muses
mk67
Oil on copper
15 3/4x 11 1/8in
Uffizi,Gallery
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ALLORI Alessandro
Susanna and The Elders
Oil on canvas, 202 x 7 cm
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ALLORI Alessandro
Venus and Cupid
Oil on wood
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ALLORI Alessandro
The Anunciacion
mk166
1603 I Wave on cloth 162x103cm Galeria of the Academy Florence
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ALLORI Alessandro
Museum art historic Christ with Maria and Marta
mk186
1605
Vienna
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ALLORI Alessandro
The banquet of the Kleopatra
mk186
1570 Florence, Palazzo Vecchio, Studiolo di Francesco I de' Medici
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ALLORI Alessandro
The wedding to canons
mk186
1592 Florence church Sant' Agata
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ALLORI Alessandro
The communion
mk186
1582 Florence, Stanta Maria del Carmine
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ALLORI Alessandro
Cosimo I dressed in a portrait of Qingqi Breastplate
mk261 Florence, about 1555-1560 years wood canvas 105 x 81 cm
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ALLORI Alessandro
Maria de Medici
Date Deutsch: um 1555
Technique Deutsch: Öl auf Pappelholz
Dimensions Deutsch: 114,5 x 89,5 cm
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| ALLORI Alessandro
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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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