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Madonna in Glory
Rosso Fiorentino11.jpg
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Madonna_in_Glory
The Hermitage, St.Petersburg
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Pieta (mk05)
new5/Rosso Fiorentino-864555.jpg
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Pieta_(mk05)
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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Deposition (mk08)
new6/Rosso Fiorentino-696343.jpg
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Deposition_(mk08)
1521
Oil on wood,
333x195cm
Volterra,Pinacoteca Comunale
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Moses and the Daughters of Jethro (nn03)
new8/Rosso Fiorentino-564286.jpg
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Moses_and_the_Daughters_of_Jethro_(nn03)
c 1523
Oil on canvas 160 x 117 cm 63 x 46 in Galleria degli Uffizi Florence
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Moses Defending the Daughters of Jethro
new3/Rosso Fiorentino-459478.jpg
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Moses_Defending_the_Daughters_of_Jethro
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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