All Rosso Fiorentino Oil Paintings

Italian Mannerist Painter, ca.1495-1540 Born in Florence Italy with the red hair that gave him his nickname, Rosso first trained in the studio of Andrea del Sarto alongside his contemporary, Pontormo. In late 1523, Rosso moved to Rome, where he was exposed to the works of Michelangelo, Raphael, and other Renaissance artists, resulting in the realignment of his artistic style. Fleeing Rome after the Sacking of 1527, Rosso eventually went to France where he secured a position at the court of Francis I in 1530, remaining there until his death. Together with Francesco Primaticcio, Rosso was one of the leading artists to work at the Chateau Fontainebleau as part of the "First School of Fontainebleau", spending much of his life there. Following his death in 1540 (which, according to an unsubstantiated claim by Vasari, was a suicide ), Francesco Primaticcio took charge of the artistic direction at Fontainebleau. Rosso's reputation, along those of other stylized late Renaissance Florentines, was long out of favour in comparison to other more naturalistic and graceful contemporaries, but has revived considerably in recent decades. That his masterpiece is in a small city, away from the tourist track, was a factor in this, especially before the arrival of photography. His poses are certainly contorted, and his figures often appear haggard and thin, but his work has considerable power.
 

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Rosso Fiorentino Madonna in Glory oil on canvas


Madonna in Glory
Madonna in Glory
Painting ID::  3631
  The Hermitage, St.Petersburg
  The Hermitage, St.Petersburg

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Rosso Fiorentino Pieta (mk05) oil on canvas


Pieta (mk05)
Pieta (mk05)
Painting ID::  20305
  Canvas 50 x 64 1/4 ''(127 x 163 cm)Painted for the Connetable Anne de Montmorency.Seized in the Revolution from the collection of Louis-Joseph de Bourbon,at the Chateau d'Ecouen
  Canvas 50 x 64 1/4 ''(127 x 163 cm)Painted for the Connetable Anne de Montmorency.Seized in the Revolution from the collection of Louis-Joseph de Bourbon,at the Chateau d'Ecouen

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Rosso Fiorentino Deposition (mk08) oil on canvas


Deposition (mk08)
Deposition (mk08)
Painting ID::  21345
  1521 Oil on wood, 333x195cm Volterra,Pinacoteca Comunale
  1521 Oil on wood, 333x195cm Volterra,Pinacoteca Comunale

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Rosso Fiorentino Moses and the Daughters of Jethro (nn03) oil on canvas


Moses and the Daughters of Jethro (nn03)
Moses and the Daughters of Jethro (nn03)
Painting ID::  23471
  c 1523 Oil on canvas 160 x 117 cm 63 x 46 in Galleria degli Uffizi Florence
  c 1523 Oil on canvas 160 x 117 cm 63 x 46 in Galleria degli Uffizi Florence

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Rosso Fiorentino Moses Defending the Daughters of Jethro oil on canvas


Moses Defending the Daughters of Jethro
Moses Defending the Daughters of Jethro
Painting ID::  28978
  mk65 Oil on canvas 63x46 1/16in Uffizi,Gallery
  mk65 Oil on canvas 63x46 1/16in Uffizi,Gallery

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     Rosso Fiorentino
     Italian Mannerist Painter, ca.1495-1540 Born in Florence Italy with the red hair that gave him his nickname, Rosso first trained in the studio of Andrea del Sarto alongside his contemporary, Pontormo. In late 1523, Rosso moved to Rome, where he was exposed to the works of Michelangelo, Raphael, and other Renaissance artists, resulting in the realignment of his artistic style. Fleeing Rome after the Sacking of 1527, Rosso eventually went to France where he secured a position at the court of Francis I in 1530, remaining there until his death. Together with Francesco Primaticcio, Rosso was one of the leading artists to work at the Chateau Fontainebleau as part of the "First School of Fontainebleau", spending much of his life there. Following his death in 1540 (which, according to an unsubstantiated claim by Vasari, was a suicide ), Francesco Primaticcio took charge of the artistic direction at Fontainebleau. Rosso's reputation, along those of other stylized late Renaissance Florentines, was long out of favour in comparison to other more naturalistic and graceful contemporaries, but has revived considerably in recent decades. That his masterpiece is in a small city, away from the tourist track, was a factor in this, especially before the arrival of photography. His poses are certainly contorted, and his figures often appear haggard and thin, but his work has considerable power.

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