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Madonna and Child
new3/Rosso Fiorentino-289296.jpg
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Madonna_and_Child
mk65
ca.1517
Oil on canvas
transferred from panel
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Madonna Enthroned with SS.John the Baptist,Anthony Abbot,Stephen,and Benedict
new3/Rosso Fiorentino-557483.jpg
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Madonna_Enthroned_with_SS.John_the_Baptist,Anthony_Abbot,Stephen,and_Benedict
mk67
Panel
67 11/16x55 1/2in
Uffizi,Gallery
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Madonna Enthrouned with Ten Saints
new3/Rosso Fiorentino-387245.jpg
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Madonna_Enthrouned_with_Ten_Saints
mk67
Panel
137 13/16x82 11/16in
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Angel Musician
new3/Rosso Fiorentino-866742.jpg
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Angel_Musician
mk67
Panel
15 3/8x18 1/2in
Uffizi,Gallery
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Assumption of the Viorgin
new4/Rosso Fiorentino-964352.jpg
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Assumption_of_the_Viorgin
1517
Fresco, 385 x 395 cm
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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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