FRANCIABIGIO

Italian High Renaissance Painter, 1484-1525 Italian painter. The son of a Milanese linen-weaver, he had completed his apprenticeship, in Florence, by 18 October 1504. His earliest documented works, for example a Piete (1506) for S Pancrazio, Florence, have not survived. According to Vasari, Franciabigio trained with Mariotto Albertinelli, in whose last work, the signed and dated Crucifixion (1506; Florence, Certosa del Galluzzo, Pin.), he painted the angels (Shearman). In December 1508 the names of Franciabigio and Andrea del Sarto, who sometime between autumn 1506 and 1509 set up a joint workshop, were entered in the registration book of the Arte de' Medici e Speziali, to which painters were required to belong. The Portrait of a Young Man (Paris, Louvre) dates from this period. The work, which was later enlarged, shows the subject half-length, leaning pensively against a balustrade, with strong areas of shadow around the eyes. This is the first in a series of male portraits typical of Franciabigio: the subjects, each of whom wears a hat, are mostly placed in front of a landscape, with their gaze fixed meditatively or piercingly on the onlooker. The religious works from this period, such as the Virgin and Child (1509; Rome, Pal. Barberini), also show a movement away from the style of Albertinelli and Raffaellino del Garbo and begin to reveal instead the influence of Leonardo, Michelangelo and, especially, Raphael. Yet Franciabigio's connection with Andrea del Sarto was the determining factor in his career. When in 1509 it was del Sarto who received the commission to complete the fresco cycle in the atrium of SS Annunziata, Florence, their relationship altered significantly.


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FRANCIABIGIO The Last Supper dh oil


The Last Supper dh
Painting ID::  6713
The Last Supper dh
1514 Fresco Convento della Calza, Florence
1514 Fresco Convento_della_Calza,_Florence
   
   
     

FRANCIABIGIO Portrait of a Man dsh oil


Portrait of a Man dsh
Painting ID::  6714
Portrait of a Man dsh
Wood Mus??e du Louvre, Paris
Wood Mus??e_du_Louvre,_Paris
   
   
     

FRANCIABIGIO Portrait of a Man (mk05) oil


Portrait of a Man (mk05)
Painting ID::  20158
Portrait of a Man (mk05)
Wood,30 x 23 1/2''(76 x 60 cm).Acquired from the Duc de Richelieu by Louis XIV in 1665
   
   
     

FRANCIABIGIO Portrait d'Homme oil


Portrait d'Homme
Painting ID::  30963
Portrait d'Homme
mk70 Bois H.0,76 L.0,60 Paris,Musee du Louvre
mk70 Bois H.0,76 L.0,60 Paris,Musee_du_Louvre
   
   
     

FRANCIABIGIO Portrait of a Kning of Rhodes oil


Portrait of a Kning of Rhodes
Painting ID::  42996
Portrait of a Kning of Rhodes
mk170 dated 1514 Oil on wood 60.3x45.7cm
mk170 dated_1514 Oil_on_wood 60.3x45.7cm
   
   
     

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     FRANCIABIGIO
     Italian High Renaissance Painter, 1484-1525 Italian painter. The son of a Milanese linen-weaver, he had completed his apprenticeship, in Florence, by 18 October 1504. His earliest documented works, for example a Piete (1506) for S Pancrazio, Florence, have not survived. According to Vasari, Franciabigio trained with Mariotto Albertinelli, in whose last work, the signed and dated Crucifixion (1506; Florence, Certosa del Galluzzo, Pin.), he painted the angels (Shearman). In December 1508 the names of Franciabigio and Andrea del Sarto, who sometime between autumn 1506 and 1509 set up a joint workshop, were entered in the registration book of the Arte de' Medici e Speziali, to which painters were required to belong. The Portrait of a Young Man (Paris, Louvre) dates from this period. The work, which was later enlarged, shows the subject half-length, leaning pensively against a balustrade, with strong areas of shadow around the eyes. This is the first in a series of male portraits typical of Franciabigio: the subjects, each of whom wears a hat, are mostly placed in front of a landscape, with their gaze fixed meditatively or piercingly on the onlooker. The religious works from this period, such as the Virgin and Child (1509; Rome, Pal. Barberini), also show a movement away from the style of Albertinelli and Raffaellino del Garbo and begin to reveal instead the influence of Leonardo, Michelangelo and, especially, Raphael. Yet Franciabigio's connection with Andrea del Sarto was the determining factor in his career. When in 1509 it was del Sarto who received the commission to complete the fresco cycle in the atrium of SS Annunziata, Florence, their relationship altered significantly.

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