Italian Paintres

Artwork: Madonna in adorazione di Gesù Bambino (Adoration of the Christ Child)
Artist: Antonio Allegri, detto il Correggio (Correggio, Reggio Emilia 1489 c. – 1534)
Created: 1518 - 1520
Medium: Oil on canvas
Dimensions: 81 x 77 cm
Location: Galleria degli Uffizi, Florence

Antonio Allegri, conosciuto come Correggio, dal nome del suo paese natale, può essere considerato il principale artefice del rinnovamento della pittura emiliana del primo Cinquecento. Dopo una prima esperienza nell’ambiente mantovano, dove ebbe modo di studiare l’illusionismo prospettico e il recupero del classicismo del Mantegna, arricchì la sua formazione con la conoscenza dello sfumato leonardiano e del tonalismo veneto, approdando ad una pittura vivace e fresca, incentrata sulla rappresentazione della tenerezza degli affetti, capace di conquistare lo spettatore con l’affabile spontaneità dei suoi personaggi e la preziosa delicatezza delle gamme cromatiche.

L’origine di questo dipinto non ci è nota, ma è certo che doveva essere considerato uno dei capolavori del pittore se il duca di Mantova, Ferdinando Gonzaga, lo scelse per farne dono al granduca Cosimo II de’ Medici. L’opera giunse agli Uffizi nel 1617 e fu collocata in Tribuna dove rimase fino al 1848. Nella celebre veduta della Tribuna degli Uffizi del 1772 del pittore inglese Joahnn Zoffany l’opera occupa un posto di tutto riguardo accanto alla Madonna della seggiola di Raffaello.

Il soggetto del dipinto aveva conosciuto una certa fortuna nel Quattrocento attraverso le opere di Filippo e Filippino Lippi che ne avevano realizzate più versioni. L’iconografia deriva dalla visione della nascita di Gesù che Santa Brigida di Svezia ebbe a Betlemme nel 1372. Nelle sue Rivelazioni la Santa racconta che “la Vergine si tolse i calzari […] si inginocchiò in atteggiamento orante, le mani protese in avanti e, d’un tratto, in un istante mise al mondo suo Figlio. Sul suolo all’improvviso comparve il neonato e da lui si irradiò una luce ineffabile. Quando Maria senti di aver generato il Bambino, lo salutò con queste parole: sii il Benvenuto, o mio Dio, Signore e mio Figlio” Nell’atmosfera chiara e rarefatta dell’alba, una bella e dolce Madonna si inginocchia di fronte a Gesù appena nato contemplandolo con tenerezza. Il Piccolo ricambia lo sguardo della madre allungando la manina nel tentativo tipicamente infantile di afferrarle la veste. Il loro intimo legame è sottolineato dall’invenzione di adagiare il neonato sopra un lembo del manto materno.

Con pochi semplici gesti, Correggio riesce magistralmente a comunicare allo spettatore il tenero scambio di affetti tra Maria e suo Figlio.
Source: uffizi.it

Artist: Guido Reni (Italian, 1575–1642)
Artwork: Woman with a Bow
Created: 1638–1639
Medium: Oil on canvas
Dimensions: 734 mm x 608 mm
Location: Birmingham Museums Trust, UK 🇬🇧

Artist: Agnolo di Cosimo, called Bronzino (1503-1572)
Artwork: Holy Family with St. Anne and the infant St. John
Genre: Religious art
Created: 1545-1546
Medium: Oil on poplar wood
Dimensions: height: 1,268 mm (49.92 in); width: 1,015 mm (39.96 in)
Location: Kunsthistorisches Museum Vienna

From 1539 until his death in 1572, Bronzino served as the court painter to Cosimo I, duke of Florence. He was engaged in a variety of commissions, including decorations for the wedding of the duke to Eleonora of Toledo (1539) as well as a Florentine chapel in her honour (1540–45). Frescoes he painted there include Moses Striking the Rock, The Gathering of Manna, and St. John the Evangelist. He also created mythological paintings such as The Allegory of Luxury (also called Venus, Cupid, Folly, and Time; c. 1544–45), which reveals his love of complex symbolism, contrived poses, and clear, brilliant colours. By the 1540s he was regarded as one of the premier portrait painters in Florence.

Artist: Bronzino (1503–1572)
Artwork: Deposition of Christ 1540 / 1545 (Detail)
Eleonora of Toledo (Medici)
Medium: Oil on panel
Location: Musée des beaux-arts et d'archéologie de Besançon , France

Artist: Francesco Francia (1447–1517)
Artwork: Portrait of Federico Gonzaga, 1510
Medium: Tempera on wood, transferred from wood to canvas
Genre: Portrait
Location: The Metropolitan Museum of Art New York

The great Renaissance collector Isabella d’Este, marchioness of Mantua, commissioned this charming portrait of her son Federico Gonzaga to console her when he was taken to the papal court in Rome as hostage. It was painted by Francia as the young heir passed through Bologna, and was so admired that Isabella had to reclaim it from some papal courtiers. Federico’s black hat and gold-embroidered gown were much in vogue, and his gaze is exceptionally sweet for a fifteenth-century portrait. Soon after Isabella finally received the portrait she gave it away in response to an unexpected gift from a gentleman in Ferrara who had sent her a magnificent book of sonnets.

Artist: Ambrogio Lorenzetti
Artwork: Madonna and Child Enthroned, with Angels and Saints
Created: c. I340
Medium and and support: Tempera on wood
Dimensions: 50.5 x 34.5 cm
Location: Siena, Pinacoteca Nazionale, 🇮🇹

This small domestic altar, cropped and in poor condition, originally featured two wings and would have been more differentiated in its palette and in its modelling of the draperies. It was probably executed for a member of the clergy with a special interest in its compositional structure, which follows that of an altar-piece, and its theological patrons (Pope Clemens and Gregory the Great, two holy bishops and the saints, Dorothy and Catherine). The references to altar painting are nevertheless only faint: Mary sits not on a throne but on a folding chair as she clasps her son - who is pointing to a verse from the Lord's Prayer ("Thy will be done") on a banderole - in a maternal embrace. Overall, too, the fine details of the ex*****on and the wealth of objects on display place the panel firmly in the sphere of the private devotional picture.
In a bold compositional device, the saints and angels are grouped in the shape of a mandorla around the aureoled Madonna.

Artist: Pietro Lorenzetti
Artwork: The Deposition
Created: c. 1320-1330
Medium: Fresco
Dimensions: 232 x 377 cm
Location: Assisi, San Francesco, Lower Church
Constanta-Liliana Dinescu

A pupil of Giovanni Paolo Panini in Rome, Joli was active primarily as a painter of theater sets in Dresden, Madrid, London, Naples, and especially Venice, where he was influenced by Canaletto. From 1744 to 1748 he worked in London at the King’s Theatre, Haymarket. He also produced topographical paintings popular among English collectors. This work combines those two modes: the imaginary foreground operates like a stage set inspired by antiquity, while the background is a contemporary view of the river Thames with St. Paul’s Cathedral, the Tower of London, and Old London Bridge.
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Capriccio with St. Paul's and Old London Bridge
Antonio Joli Italian
ca. 1745
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Title: Capriccio with St. Paul's and Old London Bridge
Artist: Antonio Joli (Italian, Modena 1700–1777 Naples)
Date: ca. 1745
Medium: Oil on canvas
Dimensions: 42 x 47 in. (106.7 x 119.4 cm)
Classification: Paintings
Credit Line: Bequest of Alice Bradford Woolsey, 1970
Accession Number: 1970.212.2
Source: themetmuseum.org

Duccio di Buoninsegna
Adoration of the Magi,
1308-I311
(detail of the predella of the Maestà)
Tempera on wood, 42.5 × 44 cm Siena, Museo dell'Opera del
Duomo

This panel was originally part of the predella, since broken up, of the high altar retable in Siena cathedral. Its poor condition is a result of its low location. It was originally framed by individual portraits of the prophets, including a picture of King Solomon. Destined as it was for the front of a hieratic altarpiece, even this small scene is strict and dignified in its compo-sition.
The centre is emphasized by the architecture of the background, and in particular the triangular gable. The figures are presented in strict relief. Characteristic motifs include the group of horses in classical style, borrowed from the Three Kings relief by Nicola and Giovanni Pisano on the pulpit in Siena cathe-dral, and the Virgin's throne. The palette concentrates upon the pure triad of blue, red and gold, as found in French court art and as commonly employed by Duccio for his highest-ranking figures, at least on the altar front.

Fra le iniziative che la Pinacoteca di Brera ha dedicato in questi anni alla tutela della collezione spicca la dotazione di numerosi dipinti del climaframe, una teca climatizzata applicata direttamente alla cornice dell'opera, che permette di assicurare le migliori condizioni conservative al quadro senza interferire con la sua fruizione da parte dei visitatori.

Ora, grazie alla collaborazione con Arterìa, alla schiera di capolavori già inseriti in climaframe si è aggiunta la "Madonna col Bambino e santi, angeli e Federico da Montefeltro" di Piero della Francesca, uno dei "pesi massimi" del museo esposto in sala XXIV.

In occasione delle GEP (Giornate Europee del Patrimonio), sabato 23 settembre alle ore 16.00 sarà dedicato al nuovo climaframe della "Pala di Brera" un approfondimento per il pubblico, a cura di Andrea Carini.

Artwork: Adoration of the Christ Child
Artist: Antonio da Correggio (Antonio Allegri da Correggio (August 1489 – 5 March 1534), usually known as just Correggio)
Created: between 1518 - 1520
Movement: Italian Renaissance
Medium: Oil on canvas
Dimensions: 810 mm x 770 mm
London: Uffizi Gallery, Florence, Italian

Antonio Allegri, known as Correggio, named after his birth town, can be considered the leading figure of the renewal of early 16th century Emilian painting. Having started out in the Mantuan scene, where he had the opportunity to study illusionism based on perspective and the recovery of Mantegna’s classicism, he enhanced his expertise by learning Da Vinci’s sfumato and the Venetian tonalismo techniques. The result was a fresh, vibrant style of painting, focused on expressing the tenderness of personal relationships, and capable of winning the beholder over with its likeable spontaneous characters and precious, delicate colours.
The provenance of this painting is unknown, but we do know that the Duke of Mantua, Ferdinando Gonzaga, chose it as a gift for the Grand Duke Cosimo II de’Medici so it was definitely considered one of the painter’s masterpieces. The work came to the Uffizi in 1617 and was located in the Tribuna, where it remained until 1848. In the famous view of the ‘Tribuna of the Uffizi’ painted in 1772 by English artist Johan Zoffany, the work occupies a prominent position alongside Raphael’s ‘Madonna of the Chair’.

The Holy Family
By Michelangelo
Michelangelo di Lodovico Buonarroti Simoni, known as Michelangelo, was an Italian sculptor, painter, architect, and poet of the High Renaissance. Born in the Republic of Florence, his work was inspired by models from classical antiquity and had a lasting influence on Western art.
Wikipedia

Uffizi Gallery
Google Arts & Culture
The Doni Tondo or Doni Madonna, is the only finished panel painting by the mature Michelangelo to survive. Wikipedia
Artist: Michelangelo
Location: Uffizi Gallery
Created: 1504–1506
Media: Tempera, Oil Paint
Periods: Renaissance, Italian Renaissance, High Renaissance
Genre: Christian art
Dimensions: 120 cm diameter (47+1⁄2 in)

Uffizi Gallery, Florence

Michelangelo painted this Holy Family for a Florentine merchant, Agnolo Doni, whose prestigious marriage to Maddalena Strozzi in 1504 took place in a period that was crucial for early 16th-century Florentine art. The presence in the city of Leonardo, Michelangelo and Raphael together, boosted the already lively Florentine art scene, which in the first decade of the century experienced a period of great cultural fervour. Agnolo was thus able to celebrate his marriage and the birth of his first child with some of the highest expressions of this exceptional artistic period: a portrait of husband and wife painted by Raphael and the ‘tondo’ by Michelangelo, which is the only finished panel painting by the artist to survive. Michelangelo had not long studied the potential of the circular shape, which was greatly appreciated in the early Renaissance for religious decorations for the home, in the marble of the “Pitti Tondo” (Bargello National Museum) and the “Taddei Tondo” (Royal Academy of London): in both cases, the Virgin, Child and Infant St John powerfully occupy the whole surface of the relief. The “Doni Tondo” is also conceived as if it were a sculpture, in which the pyramidal composition of the group takes up almost the entire height and width of the panel. It has been noted that the compactness of the group is like the structure of a dome, albeit one that is animated on the inside by the twisting bodies and the concatenation of gestures as the Christ Child is gently passed from the hands of St Joseph to those of Mary.

Saint Cecilia
Reni, Guido (Italian painter, draughtsman and etcher, 1575 - 1642)
1606
Baroque Movement style
oil on canvas
37 x 29.5 in.
Norton Simon Museum, Pasadena, California, USA 🇺🇸

Saint Cecilia was the first martyr whose body remains incorruptible. She has been regarded as the patroness of musicians and church music It is believed that she died in the year 177 A.D. According to church history, Cecilia was a maiden of noble birth. At an early age, she dedicated her life to God with a vow of chastity. But her family made her marry a young noble named Valerian. On her wedding day, she prayed to the Lord and asked Him to protect her virginity. History records, "The day on which the wedding was to be held arrived and while musical instruments were playing she was singing in her heart to God alone saying: Make my heart and my body pure that I may not be confounded" (McKinnon 46). St. Cecilia's prayers were answered, and Valerian was willing to take her as his wife without forcing her to break her vow. Not only did he accept her vow of chastity, he and his brother Tiburtius both converted to Christianity and were baptized by Pope Urban I.

At that time, Christianity was still illegal in Rome. Both Valerian and his brother Tiburtius were soon discovered to be Christians and were martyred. Cecilia was discovered soon after that and met a similar fate. It required two attempts before her ex*****oners could kill her. They first locked her inside the bathroom of her own home and tried to suffocate her by steam. When she emerged from the bath unharmed, she was then beheaded. The stroke of the axe failed to sever her head completely from her body, however, and she lingered on for three excruciating days. During that time, she saw to the disbursement of her assets to help the poor, and she donated her home to the ecclesiastical authorities to be used as a church.

Artwork: The Virgin with the Sleeping Christ Child
Genre: Religious art
Artist : Orazio Gentileschi, Italian (1563 - 1639)
Created: ca. 1610
Movement style: Baroque
Medium and support: Oil on canvas
Dimensions: 99.8 x 85.3 cm (39 5/16 x 33 9/16 in.)
frame: 133 x 118.6 x 8.5 cm (52 3/8 x 46 11/16 x 3 3/8 in.)
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Provenance: Recorded Ownership History
Private collection, Milan (1931). Count Alessandro Contini-Bonacossi, Florence (1939-55) sold; [through Thomas Agnew & Sons, London, April 14, 1976] to William A. Coolidge, gift; to Fogg Art Museum, 1976.
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Location: Harvard Art Museums, Cambridge, USA 🇺🇸

A Tuscan contemporary of Caravaggio, Orazio Gentileschi began his career in the Eternal City and later worked in Genoa, France, and England, conveying the innovations of early seventeenth-century Roman painting to other European centers. This work emphasizes the sacramental meaning of Christ’s birth by foreshadowing his death. The Child sleeps in the Virgin’s lap, his languid pose reminiscent of a Pietà. He rests on a white swaddling cloth that may allude to a burial shroud, while his mother draws a transparent veil over his head. In his left hand he holds an apricot, the forbidden fruit, which refers to the original sin that his death on the cross will redeem. Before a dark void, the Virgin and Child are rendered as palpable presences acting within our world — a theatrical presentation enhanced by the close cropping of the composition and the stark, Caravaggesque contrast of the dramatically illuminated figures and impenetrable background.
Source: https://harvardartmuseums.org/collections/object/299919

Artwork: Christ Carrying the Cross
Artist: Francesco de Rossi, known as Salviati (Florence c. 1509 - Rome 1563)
Created: c. 1547-1548
Medium and support: Oil on panel
Dimensions: 66 x 45 cm
Location: Uffizi Gallery, Florence, Italy 🇮🇹

The small size of the painting indicates that it was intended for a bedroom or private chapel. It focuses on a close-up of Christ’s face, as he makes his way towards Mount Calvary with the cross on his shoulder. This subject was particularly popular in the mid-16th century, due to the lively debates on the themes of salvation and good Christian conduct, that were important in the spiritual circles where Juan de Valdés and Bernardino Tommassini, known as Ochino, gave their sermons. The serious, composed expression on Christ’s tear-streaked face, and his lowered gaze, which expresses all the humiliation inflicted by his torturers and the human pain of his imminent death, are rendered by an extremely refined, analytical painting style, characterized by painstaking attention to detail: from the crown of thorns piercing Christ’s forehead, causing fine trickles of blood, to his thick hair, entwined strand by strand in the same fashion as the tidy curls of his blond beard. The compact, glazed light of the surface, the pale color palette used, and the details which visibly render the transparencies of his diaphanous skin, in contrast with the bright red of his robe, evoke the finesse of contemporary Bronzino-style paintings. Salviati painted this small panel during his short Florentine period, between 1543 and 1548. During the same period, Salviati also painted the frescoes with Scenes from the Life of Furius Camillus in the Audience Room in Palazzo Vecchio, the drawings for the Scenes from the Life of Giuseppe Ebreo woven into tapestries by Flemish artist Nicolas Carcher, the large Deposition for the Dini altar in Santa Croce and various other portraits that bear witness to his versatility in a range of genres.
Source: uffizi.it

🇮🇹Balla, Giacomo (18 July 1871 – 1 March 1958) was an Italian painter, art teacher and poet best known as a key proponent of Futurism. In his paintings he depicted light, movement and speed.

Giacomo Balla was born in Turin, in the Piedmont region of Italy. He was the son of a photographer and as a child studied music.

At age nine, after the death of his father, he gave up music and began working in a lithograph print shop. By age 20, his interest in visual art had developed to such a level that he decided to study painting at local academies, and several of his early works were shown at exhibitions. Following academic studies at the University of Turin, Balla moved to Rome in 1895, where he met and later married Elisa Marcucci. For several years he worked in Rome as an illustrator, caricaturist and portrait painter. In 1899, his work was exhibited at the Venice Biennale, and in the ensuing years his art was shown at major exhibitions in Rome and Venice, as well as in Munich, Berlin and Düsseldorf, at the Salon d'Automne in Paris, and at galleries in Rotterdam.

Around 1902, he taught Divisionist techniques to Umberto Boccioni and Gino Severini. Influenced by Filippo Tommaso Marinetti, Giacomo Balla adopted the Futurism style, creating a pictorial depiction of light, movement and speed. He was a signatory of the Futurist Manifesto in 1910. Typical for his new style of painting is Dynamism of a Dog on a Leash (1912) and his 1914 work Abstract Speed + Sound (Velocità astratta + rumore). In 1914, he began to design Futurist furniture, as well as so-called Futurist "antineutral" clothing.[3] Balla also began working as a sculptor, creating, in 1915, the well-known work titled Boccioni's Fist, based on 'lines of force' (Linee di forza del pugno di Boccioni).

During World War I, Balla's studio became a meeting place for young artists.
In 1935, he was made a member of Rome's Accademia di San Luca.
In 1955, Balla participated in the documenta 1 in Kassel.
He died on 1 March 1958.
Source: Wikipedia

Autosmorfia

Balla, Giacomo (18 July 1871 – 1 March 1958) was an Italian painter, art teacher and poet best known as a key proponent of Futurism. In his paintings he depicted light, movement and speed.

1900
oil on wood panel
422 mm x 312 mm
signed Balla
private collection

Giacomo Balla (18 July 1871 – 1 March 1958) was an Italian painter, art teacher and poet best known as a key proponent of Futurism. In his paintings he depicted light, movement and speed.

Giacomo Balla was born in Turin, in the Piedmont region of Italy. He was the son of a photographer and as a child studied music.

At age nine, after the death of his father, he gave up music and began working in a lithograph print shop. By age 20, his interest in visual art had developed to such a level that he decided to study painting at local academies, and several of his early works were shown at exhibitions. Following academic studies at the University of Turin, Balla moved to Rome in 1895, where he met and later married Elisa Marcucci. For several years he worked in Rome as an illustrator, caricaturist and portrait painter. In 1899, his work was exhibited at the Venice Biennale, and in the ensuing years his art was shown at major exhibitions in Rome and Venice, as well as in Munich, Berlin and Düsseldorf, at the Salon d'Automne in Paris, and at galleries in Rotterdam.

Around 1902, he taught Divisionist techniques to Umberto Boccioni and Gino Severini. Influenced by Filippo Tommaso Marinetti, Giacomo Balla adopted the Futurism style, creating a pictorial depiction of light, movement and speed. He was a signatory of the Futurist Manifesto in 1910. Typical for his new style of painting is Dynamism of a Dog on a Leash (1912) and his 1914 work Abstract Speed + Sound (Velocità astratta + rumore). In 1914, he began to design Futurist furniture, as well as so-called Futurist "antineutral" clothing. Balla also began working as a sculptor, creating, in 1915, the well-known work titled Boccioni's Fist, based on 'lines of force' (Linee di forza del pugno di Boccioni).

During World War I, Balla's studio became a meeting place for young artists.
In 1935, he was made a member of Rome's Accademia di San Luca.
In 1955, Balla participated in the documenta 1 in Kassel.
He died on 1 March 1958.

Artwork: Allegory of the Christian Church
Artist: Alessandro Allori (Alessandro di Cristofano di Lorenzo del Bronzino Allori (Florence, 31 May 1535 – 22 September 1607) was an Italian painter of the late Mannerist Florentine school.)
Created: 1600s
Movement style: Mannerism
Medium and support: Oil on canvas
Dimensions: 131 x 115 cm
Artwork location: The State Hermitage Museum, Saint Petersburg

Artwork: The Annunciation
Artist: Paolo de Matteis (also known as Paolo de' Matteis; 9 February 1662 – 26 January 1728) was an Italian painter.
Created: 1712
Medium and support: Oil on canvas
Dimensions: 206 x 178 cm (approximate)
Artwork location: Saint Louis Art Museum, Missouri
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The Saint Louis Art Museum is one of the principal U.S. art museums, with paintings, sculptures, cultural objects, and ancient masterpieces from all corners of the world. Its three-story building stands in Forest Park in St. Louis, Missouri, where it is visited by up to a half million people every year. Wikipedia
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In this scene from the biblical New Testament, the archangel Gabriel arrives bearing news that the Virgin Mary will bear a child, the infant Jesus. The clouds beneath the messenger, his accompaniment of winged cherubs, and a golden glow, make it clear that he is divine. A dove in the golden aura near the top of the canvas symbolizes God sending the child into Mary’s womb. The artist used soft colors and delicate forms to evoke a sense of poetic ideal.
Saint Louis Art Museum.

Artwork: The Return of the Prodigal Son
Artist: Pompeo Girolamo Batoni (25 January 1708 – 4 February 1787)
Created: 1773
Medium and support: Oil on canvas
Dimensions: 138 x 100.5 cm (conform https://commons.m.wikimedia.org/wiki/File:Pompeo_Batoni_003.jpg)
Artwork location: Kunsthistorisches Museum, Vienna, Austria 🇦🇹

🇮🇹 Pompeo Girolamo Batoni (25 January 1708 – 4 February 1787 depicted only the father and young son in his composition. Though there are just two figures, Batoni maintained the father as the primary focal point through several compositional methods.
First, the father has a higher placement in the composition. A hierarchy of importance is suggested between the father and his young son since the son kneels and makes himself lower in the presence of his father.
Next, there are more rendered details on the father than on the young son. The father’s clothing has an array of textures: He has donned gold and jewelry and has textured fur and a velvety robe. The son is depicted with a bare back and a simple peasant garment to cover himself. The details and textures make the father a more important compositional figure than the son.
Finally, Batoni used color intensity to maintain the father as the primary focal point. The father’s garb is much more colorful than the son’s. Batoni incorporated the complementary colors of red and green into the father’s clothes. Complementary colors are believed to be colors that naturally contrast one another and thereby hold our gaze longer than an area of lower contrast like the simple browns of the son’s clothes.
Even the father’s flesh has more color than the son’s flesh: The father’s rosy cheeks and hands are more vibrant than the son’s yellowish tones.___

Artist: GUIDO RENI (Italian painter of the Baroque, 1575 - 1642)
Artwork: The Martyrdom of Saint Apollonia
Created: between 1600 - 1603
Medium and support: Oil on copper plate
Location: Prado Museum , Madrid, Spain 🇪🇸

Saint Apollonia was one of the virgins martyred in Alexandria (Egypt) in the third century, A.D. during the religious persecution of Christians. In this small plate on copper, the Bolognese painter captures the moment when two henchmen torture the saint, who is tied to a post, by extracting her teeth with large pliers. That explains why this tool (sometimes including teeth) is her customary attribute, and why she is invoked to combat toothaches. This representative work from Reni’s youth reveals his admiration for Raphael, as well as the time he spent in the Carracci’s academy—especially the symmetrical composition and the female model. It also shows that even his earliest work had ties to the Baroque era’s classicist tendencies (Text from La Belleza Cautiva. Pequeños tesoros del Museo del Prado, Museo Nacional del Prado .

Artist: Alessandro Allori (1535-1607)
Artwork: Portrait of a Young Woman {Bianca Cappello de Medici}
Genre: Portrait
Created: 1580s
Movement style: Mannerism
Medium and support: Oil on canvas
Adam Williams Fine Art Gallery, New York

Artist: Alessandro Allori (1535-1607)
Artwork: Portrait of a Young Woman {Bianca Cappello de Medici} - Detail)
Genre: Portrait
Created: 1580s
Movement style: Mannerism
Medium and support: Oil on canvas
Adam Williams Fine Art Gallery, New York

Artwork:
Saints Francis and Anthony
Artist:
Attributed to Lorenzo di Bicci (Italian painter, ca.1350-1427); Previously attributed to Italian (Bolognese) School; Previously attributed to Lorenzo di Bicci (Italian painter, ca.1350-1427
Earliest Date: about 1400
Latest Date: about 1400
Movement style:
Early Italian Renaissance
Measurements:
91.4 x 57.1 cm (estimate)
Medium and support:
tempera; gold on panel (hardwood {lime})
Collection:
National Inventory of Continental European Paintings
Museum location:
Bristol City Museum and Art Gallery

Description:
This work has been attributed to Lorenzo di Bicci, the first known artist of an important Florentine artistic dynasty which operated its workshop over more than a century. It probably occupied the left side of a multi-panelled altarpiece, of which the remaining panels are lost or unidentified. The figures represented are the popular saints Anthony Abbot, considered the founder of monasticism and credited with miraculous powers of healing, and Francis, who founded the Franciscan order in the thirteenth century. Unusually, the stigmata of St Francis are pin-pointed with tiny gold rays.
Source of informations:
Museum, Bristol City Museum and Art Gallery (vads.ac.uk)

Other source: https://m.facebook.com/story.php?story_fbid=1433029914184498&id=100024325096915

Photography created: 1️⃣ZebraPhotography with me Constanta-Liliana Cld at Br1️⃣ZebraPhotographyGalleryConstanta-Liliana Cld

Lorenzo di Bicci (c. 1350 – 1427) was an Italian painter of the Florentine School considered to be one of the most important painters in Florence during the second half of the 14th century.[1] He is believed to have learned his trade from his father, about whom little is known. Lorenzo’s style, as well as that of his contemporaries Jacopo di Cione and Niccolò di Pietro Gerini, was influenced by the artist Andrea di Cione.[1] Lorenzo's paintings made use of bright colors and his compositions avoided complexity. The figures he painted tended to have round faces and were often expressionless. Another one of Lorenzo's distinctive characteristics was his precision of ex*****on. He was known for exceptional talent in drawing, an ability that he put to use at the initial stages of his painting. Unlike many celebrated Florentine artists of this period, Lorenzo mostly received commissions from the country clergy and from the lower-middle-class Florentine guilds. His successors, Bicci di Lorenzo and Neri di Bicci, continued to serve these groups.