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Around 1573 Ambrosius Francken I was back in Antwerp where he joined the local Guild of Saint Luke as a master. Ambrosius lived in a very turbulent time due to the conflict between Calvinists and Catholics in the Low Countries. In 1577 Antwerp had elected a Calvinist city council. The council ordered in 1581 the sy... |
He clearly established a name for himself as a prolific maker of the many altarpieces that replaced the ones destroyed during the iconoclastic troubles. His reputation was such that in 1589 he together with Maerten de Vos was appointed by the Ghent magistrate to value the painting of the Last Judgment by Raphael Coxie... |
He married Clara Pickarts and later became the teacher of Hieronymus Francken II, the son of his brother Frans Francken I. He died in Antwerp. |
Work |
Ambrosius Francken I is known for religious works and historical allegories. He made large altarpieces for churches in Antwerp that replaced the many artworks that had disappeared during the iconoclastic fervour of the Beeldenstorm a few decades before. His compositions depicting muscular figures based on classical p... |
His style shows the influence of Marten de Vos in the opulently draped robes and other details. He occasionally painted the staffage in the landscapes of Abraham Govaerts. |
Many of his works that have survived depict martyrdoms, a theme popular in Counter-Reformation Flanders. One of his important commissions was the painting of the triptych for the Guild of Barbers and Surgeons in 1590. One of the wings of the triptych depicts the miracles of the Saints Cosmas and Damian. The saints' m... |
During his Calvinist period (roughly 1579 to 1585) Ambrosius was responsible for a set of engravings called The Fate of Mankind that strongly criticised, even ridiculed, the Catholic clergy. |
Very few of his drawings have survived. Some drawings of scenes from the commedia dell’arte (including a drawing at the Amsterdam Museum) that are ascribed to Ambrosius I are interesting and show plays that he may have seen while residing in Fontainebleau in the 1570s. |
References |
External links |
Media related to Ambrosius Francken (I) at Wikimedia Commons |
== Family tree == |
Andrea Commodi (1560–1638) was an Italian painter of the early-Baroque period. Born in Florence, but mostly active in Rome, he was a pupil of the painter Cigoli. He painted frescoes in the sacristy of San Carlo ai Catinari. In the Galleria degli Uffizi in Florence there is a preparatory sketch "Fall of the Angels. This... |
References |
Farquhar, Maria (1855). Ralph Nicholson Wornum (ed.). Biographical catalogue of the principal Italian painters. London: Woodfall & Kinder. p. 48. |
Hobbes, James R. (1849). Picture collector's manual adapted to the professional man, and the amateur. T&W Boone. p. 57. |
Andrea del Sarto (US: , UK: , Italian: [anˈdrɛːa del ˈsarto]; 16 July 1486 – 29 September 1530) was an Italian painter from Florence, whose career flourished during the High Renaissance and early Mannerism. He was known as an outstanding fresco decorator, painter of altarpieces, portraitist, draughtsman, and colorist. ... |
Early life and training |
Andrea del Sarto was born Andrea d'Agnolo di Francesco di Luca in Florence on 16 July 1486. Since his father, Agnolo, was a tailor (Italian: sarto), he became known as "del Sarto" (meaning "tailor's son"). Since 1677 some have attributed the surname Vannucchi with little documentation. |
By 1494, Andrea was apprenticed to a goldsmith, and then to a woodcarver and painter named Gian Barile, with whom he remained until 1498. According to his late biographer Vasari, he then apprenticed to Piero di Cosimo, and later with Raffaellino del Garbo (Carli). |
Andrea and an older friend, Franciabigio, decided to open a joint studio at a lodging together in the Piazza del Grano. The first product of their partnership may have been the Baptism of Christ for the Florentine Compagnia dello Scalzo, the beginning of a monochrome fresco series. By the time the partnership was disso... |
Frescoes at SS Annunziata in Florence |
From 1509 to 1514 the Servite Order employed Del Sarto, Franciabigio, and Andrea Feltrini in a programme of frescoes at Basilica della Santissima Annunziata di Firenze. Sarto completed seven frescoes in the forecourt or atrium (the chiostro dei voti) before the Servite church, five of which illustrated the Life and mi... |
By 1514, Andrea had finished his last two frescoes in the Chiostro dei Voti (SS. Annunziata), including his masterpiece, the Nativity of the Virgin, which fuses the influence of Leonardo, Ghirlandaio, and Fra Bartolomeo. By November 1515 he had finished at the nearby Chiostro of the Confraternity of Saint John the Bapt... |
Visit to France |
Before the end of 1516, a Pietà of Del Sarto's composition, and afterward a Madonna, were sent to the French Court. This led to an invitation from François I, in 1518, and he journeyed to Paris in June of that year, along with his pupil Andrea Squarzzella, leaving his wife, Lucrezia, in Florence. |
According to Giorgio Vasari, Andrea's pupil and biographer, Lucrezia wrote to Andrea and demanded he return to Italy. The king assented, but only on the understanding that his absence from France was to be short. He then entrusted Andrea with a sum of money to be expended in purchasing works of art for the French Cour... |
Later works in Florence |
He resumed work in Florence during 1520 and executed the Faith and Charity in the cloister of the Scalzo. These were succeeded by the Dance of the Daughter of Herodias, the Beheading of the Baptist, the Presentation of his head to Herod, an allegory of Hope, the Apparition of the Angel to Zacharias (1523) and the monoc... |
In 1523, Andrea painted a copy of the portrait group of Pope Leo X by Raphael; this copy is now in the Museo di Capodimonte in Naples, while the original remains at the Pitti Palace. The Raphael painting was owned by Ottaviano de' Medici, and requested by Federico II Gonzaga, Duke of Mantua. Unwilling to part with the... |
Andrea's final work at the Scalzo was the Nativity of the Baptist (1526). In the following year he completed his last important painting, a Last Supper at San Salvi (now an inner suburb of Florence), in which all the characters appear to be portraits. The church is now the Museo del Cenacolo di Andrea del Sarto. |
A number of his paintings were considered to be self-portraits. Formerly, a Portrait of a Young Man in the National Gallery, London was believed to be a self-portrait, as was the Portrait of Becuccio Bicchieraio in National Gallery of Scotland, but now both are known not to be self-portraits. There is a self-portrait a... |
Madonna of the Harpies |
The Madonna of the Harpies is a depiction of the Virgin and child on a pedestal, flanked by two saints (Bonaventure or Francis and John the Evangelist), and at her feet, two cherubs. The pedestal is decorated with a relief depicting some feminine figures interpreted as harpies and thus gave rise, in English, to the nam... |
Personal life |
Andrea married Lucrezia (del Fede), the widow of a hatter named Carlo, of Recanati, on 26 December 1512. Lucrezia appears in many of his paintings, often as a Madonna. Giorgio Vasari (1511–1574) describes her as "faithless, jealous, and vixenish with the apprentices". She is similarly characterized in Robert Browning... |
Andrea died in Florence at age 44 during an outbreak of Bubonic Plague at the end of September 1530. He was buried unceremoniously by the Misericordia in the church of the Servites. In Lives of the Artists, Vasari claimed Andrea received no attention at all from his wife during his terminal illness. However, it was ... |
Critical assessment and legacy |
Said to have thought very highly of Andrea's talents, Michelangelo introduced thirteen-year-old Vasari to Andrea's studio in 1524. Of those who initially followed Andrea's style in Florence, the most prominent would be Jacopo Pontormo, along with Rosso Fiorentino, Francesco Salviati, and Jacopino del Conte. Other lesse... |
On 21 November 1848, the play Andre del Sarto, by Alfred de Musset, premiered in Paris. |
In 1968, the opera Andrea del Sarto by French composer Jean-Yves Daniel-Lesur was based on Alfred de Musset's 1848 play. |
Selected works |
Holy Family with Saint Peter Martyr (1507–1508, Pinacoteca di Bari) |
Noli me tangere (c. 1510, Museo del Cenacolo di Andrea del Sarto, Florence) |
Virgin and Child with Saints Elizabeth and John the Baptist (c. 1513, National Gallery, London) |
Portrait of the Artist's Wife (1513–1514, Museo del Prado, Madrid) |
Nativity of the Virgin (1513–1514, Santissima Annunziata, Florence) |
Madonna of the Harpies (Virgin and Child with Saints Francis and John the Evangelist, and two angels) (1517, painted at San Francesco, now in the Uffizi, Florence) |
Portrait of a Young Man (1517–1518, National Gallery, London) |
Charity (1518, Louvre, Paris) |
Julius Caesar Receives Tribute (c. 1520, fresco at Poggio a Caiano; completed by Alessandro Allori) |
The Virgin Surrounded by Saints (Pitti Palace, Florence) |
Madonna della Scala (c. 1522–1523, Museo del Prado, Madrid) |
Panciatichi Assumption (c. 1522–1523, Galleria Palatina, Pitti Palace, Florence) |
Pietà (1523–1524, Galleria Palatina, Pitti Palace, Florence) |
Passerini Assumption (1526, Galleria Palatina, Pitti Palace, Florence) |
Last Supper (1511–1527, Museo del Cenacolo di Andrea del Sarto, Florence) |
The Disputation on the Trinity (c. 1528, altarpiece for the Church of San Gallo, now in the Uffizi, Florence) |
Gambassi Altarpiece (c. 1528, Galleria Palatina, Pitti Palace, Florence) |
Barberini Holy Family (c. 1528, Galleria Nazionale di Arte Antica, Palazzo Barberini, Rome) |
Saint James with Two Youths (c. 1528–1529, Uffizi, Florence) |
Vallombrosa Polyptych (c. 1528–1529, Uffizi, Florence) |
Holy Family with John the Baptist (c. 1529, Hermitage, Saint Petersburg) |
Borgherini Holy Family (c. 1529, Metropolitan Museum, New York) |
Medici Holy Family (c. 1529, Galleria Palatina, Palazzo Pitti, Florence) |
Madonna in Glory with Four Saints (1530, Galleria Palatina, Palazzo Pitti, Florence) |
Notes |
References |
This article incorporates text from a publication now in the public domain: Rossetti, William Michael (1911). "Andrea del Sarto". In Chisholm, Hugh (ed.). Encyclopædia Britannica. Vol. 1 (11th ed.). Cambridge University Press. pp. 969–971. |
Freedberg, Sydney J. (1993). Pelican History of Art (ed.). Painting in Italy, 1500–1600. pp. 90–95 Penguin Books Ltd. |
Hobbes, James R. (1849). Picture collector's manual; Dictionary of Painters. London: T. & W. Boone. |
External links |
Andrea del Sarto in the "History of Art" Archived 26 July 2020 at the Wayback Machine |
Browning's "Andrea del Sarto" (aka "The Faultless Painter") |
"Andrea del Sarto" . Catholic Encyclopedia. 1913. |
Andrea Locatelli (19 December 1695 – 19 February 1741) was an Italian painter of landscapes (vedute). |
Locatelli (he spelled it Lucatelli) was born in Rome in 1695, as stated by him at the base of a self-portrait drawing he made for Nicola Pio in 1723. Andrea was the son of Giovanni Francesco Locatelli and not Pietro Locatelli, as has been previously reported. He studied under his father until 1708 and then under Monsù ... |
The subject matter most popular with the academic artists of this time was mainly sacred, historical or mythological themes. Locatelli broke with these traditions and concentrated on landscapes, a genre thought to be inferior by the art critics of his day. In fact, he was never allowed induction into the Accademia di S... |
Locatelli was patronized by kings, queens, princes, cardinals and the wealthy, not only in Rome, but also throughout Europe. One family – the Colonna – owned 81 of his paintings. At a time when it was becoming fashionable to make the Grand Tour, his paintings spread widely. Demand caused him to duplicate dozens of near... |
Early in his career, Locatelli specialized in romantic notions of the Latium countryside, frequently including improvised architectural elements of columns or buildings. Very few of these are thought to have been actual structures, although some were based on scenes along the Tiber and a well-known view of the Piazza N... |
Vici said, "Locatelli’s landscapes are remarkable for the sense of solitude they convey despite the fact that they are populated by figures. There is a sense of seclusion, a quality that induced one to turn from the colourless life of the community to the joy of the isolation of an interiorized existence." He excelled ... |
Locatelli incorporated farm animals into some of his paintings and was considered skilled with horses, which became more prominent as his career advanced. In some of his paintings the figures were painted by specialists. |
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