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Portrait of a Young Man hgjgh
ALLORI Alessandro4.jpg
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Portrait_of_a_Young_Man__hgjgh
Oil on canvas transferred from wood, 117 x 87,5 cm
The Hermitage, St. Petersburg
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The Body of Christ with Two Angels
ALLORI Alessandro1.jpg
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The_Body_of_Christ_with_Two_Angels
Oil on copper, 45 x 39 cm
Museum of Fine Arts, Budapest
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Portrait of a Woman hhhy
ALLORI Alessandro2.jpg
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Portrait_of_a_Woman_hhhy
1570-90
Oil on copper, 37 x 27 cm
Galleria degli Uffizi, Florence
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Allegory of Human Life kig
ALLORI Alessandro3.jpg
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Allegory_of_Human_Life__kig
1570-90
Oil on copper, 37 x 27 cm
Galleria degli Uffizi, Florence
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St Peter Walking on the Water
ALLORI Alessandro5.jpg
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St_Peter_Walking_on_the_Water
1590s
Oil on copper, 47 x 40 cm
Galleria degli Uffizi, Florence
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ALLORI_Alessandro
Italian Mannerist Painter, 1535-1607
Born in Florence. After the death of his father in 1540 he was brought up and trained in art by a close friend, often referred to as his 'uncle', the mannerist painter Agnolo Bronzino, whose name he sometimes assumed in his pictures. In some ways, Allori is the last of the line of prominent Florentine painters, of generally undiluted Tuscan artistic heritage: Andrea del Sarto worked with Fra Bartolomeo (as well as Leonardo Da Vinci), Pontormo briefly worked under Andrea, and trained Bronzino, who trained Allori. Subsequent generations in the city would be strongly influenced by the tide of Baroque styles pre-eminent in other parts of Italy.
Freedburg derides Allori as derivative, claiming he illustrates "the ideal of Maniera by which art (and style) are generated out of pre-existing art." The polish of figures has an unnatural marble-like form as if he aimed for cold statuary. It can be said of late phase mannerist painting in Florence, that the city that had early breathed life into statuary with the works of masters like Donatello and Michelangelo, was still so awed by them that it petrified the poses of figures in painting. While by 1600 the Baroque elsewhere was beginning to give life to painted figures, Florence was painting two-dimensional statues. Furthermore, in general, with the exception of the Contra Maniera artists, it dared not stray from high themes or stray into high emotion.
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