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The banquet of the Kleopatra
new17/ALLORI Alessandro-244433.jpg
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The_banquet_of_the_Kleopatra
mk186
1570 Florence, Palazzo Vecchio, Studiolo di Francesco I de' Medici
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The wedding to canons
new17/ALLORI Alessandro-922926.jpg
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The_wedding_to_canons
mk186
1592 Florence church Sant' Agata
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The communion
new17/ALLORI Alessandro-475335.jpg
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The_communion
mk186
1582 Florence, Stanta Maria del Carmine
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Cosimo I dressed in a portrait of Qingqi Breastplate
new20/ALLORI Alessandro-836495.jpg
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Cosimo_I_dressed_in_a_portrait_of_Qingqi_Breastplate
mk261 Florence, about 1555-1560 years wood canvas 105 x 81 cm
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Maria de Medici
new23/ALLORI Alessandro-857936.jpg
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Maria_de_Medici
Date Deutsch: um 1555
Technique Deutsch: Öl auf Pappelholz
Dimensions Deutsch: 114,5 x 89,5 cm
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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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