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 Enthroned and Ten Saints oil on canvas


Madonna Enthroned and Ten Saints
Madonna Enthroned and Ten Saints
Painting ID::  83613
  Date 1522(1522) Medium Oil on wood Dimensions Height: 350 cm (137.8 in). Width: 259 cm (102 in). cjr
  Date 1522(1522) Medium Oil on wood Dimensions Height: 350 cm (137.8 in). Width: 259 cm (102 in). cjr

Height    Width


  INS/CM       Quality

X

  

Rosso Fiorentino Daughters of Jethro oil on canvas


Daughters of Jethro
Daughters of Jethro
Painting ID::  85769
  between 1523(1523) and 1524(1524) Medium Oil on canvas cyf
  between 1523(1523) and 1524(1524) Medium Oil on canvas cyf

Height    Width


  INS/CM       Quality

X

  

Rosso Fiorentino Madonna Enthroned and Ten Saints oil on canvas


Madonna Enthroned and Ten Saints
Madonna Enthroned and Ten Saints
Painting ID::  87472
  1522(1522) Medium Oil on wood cyf
  1522(1522) Medium Oil on wood cyf

Height    Width


  INS/CM       Quality

X

  

Rosso Fiorentino Marriage of the Virgin oil on canvas


Marriage of the Virgin
Marriage of the Virgin
Painting ID::  88419
  1523(1523) Medium Oil on wood Dimensions Height: 325 cm (128 in). Width: 250 cm (98.4 in). cjr
  1523(1523) Medium Oil on wood Dimensions Height: 325 cm (128 in). Width: 250 cm (98.4 in). cjr

Height    Width


  INS/CM       Quality

X

  

Rosso Fiorentino Descent from the Cross oil on canvas


Descent from the Cross
Descent from the Cross
Painting ID::  88420
  1521(1521) Medium Oil on wood Dimensions Height: 375 cm (147.6 in). Width: 196 cm (77.2 in). cjr
  1521(1521) Medium Oil on wood Dimensions Height: 375 cm (147.6 in). Width: 196 cm (77.2 in). cjr

Height    Width


  INS/CM       Quality

X

  

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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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