Old Town Interiors Study of a Poet Artist Del Sarto Style P312 Art on Ebay

Italian painter (1486-1530)

Andrea del Sarto
Self-portrait
Born	Andrea d'Agnolo di Francesco di Luca (1486-07-16)16 July 1486 Florence, Republic of Florence (present-twenty-four hour period Italy)
Died	before 29 September 1530(1530-09-29) (aged 44) Florence, Republic of Florence (present-day Italian republic)
Nationality	Tuscan Italian
Known for	Painting
Notable work	Madonna of the Harpies Nativity of the Virgin
Movement	High Renaissance Mannerism

Andrea del Sarto (, , Italian: [anˈdrɛːa del ˈsarto]; 16 July 1486 – 29 September 1530) was an Italian painter from Florence, whose career flourished during the Loftier Renaissance and early Mannerism. He was known equally an outstanding fresco decorator, painter of chantry-pieces, portraitist, draughtsman, and colorist.^[1] Though highly regarded during his lifetime every bit an artist senza errori ("without errors"), his renown was eclipsed after his expiry past that of his contemporaries Leonardo da Vinci, Michelangelo, and Raphael.

Early on life and grooming [edit]

The business firm of Andrea del Sarto.

The so-chosen Portrait of a Sculptor, long believed to accept been Del Sarto's self-portrait. National Gallery

Andrea del Sarto was born Andrea d'Agnolo di Francesco di Luca ^[ii] in Florence on 16 July 1486. Since his father, Agnolo, was a tailor (Italian: sarto), he became known every bit "del Sarto" (meaning "tailor's son").^[iii] Since 1677 some have attributed the surname Vannucchi with picayune documentation. By 1494 Andrea was apprenticed to a goldsmith, and then to a woodcarver and painter named Gian Barile, with whom he remained until 1498.^[iv] According to his tardily biographer Vasari, he and then apprenticed to Piero di Cosimo, and after with Raffaellino del Garbo (Carli).

Andrea and an older friend Franciabigio decided to open a joint studio at a lodging together in the Piazza del Grano. The first product of their partnership may have been the Baptism of Christ for the Florentine Compagnia dello Scalzo, the beginning of a monochrome fresco series.^[4] By the time the partnership was dissolved, Sarto'south style bore the stamp of individuality. According to the Encyclopædia Britannica, it "is marked throughout his career by an involvement, exceptional among Florentines, in effects of colour and atmosphere and past sophisticated informality and natural expression of emotion."^[5]

Frescoes at SS Annunziata in Florence [edit]

From 1509 to 1514 the Servite Gild employed Del Sarto, Franciabigio, and Andrea Feltrini in a programme of frescoes at Basilica della Santissima Annunziata di Firenze.^[6] Sarto completed seven frescoes in the forecourt or atrium (the chiostro dei voti) before the Servite church, 5 of which illustrated the Life and miracles of Filippo Benizzi,^[7] a Servite saint who died in 1285 (canonized 1671). He executed them apace, depicting the saint healing a leper through the gift of his undertunic; predicting the bad end of some blasphemers; and restoring a girl possessed with a devil. The two final frescoes of the series depicted the healing of a child at the death bed of Filippo Benizzi and the curing of sick adults and children through his relic garment held at the church building. All five frescoes were completed before the close of 1510.^[iii] The original contract likewise required him to paint five scenes of the life and miracles of St Sebastian, merely he told the Servites that he no longer wished to go along with the second cycle, most likely due to the low remuneration. The Servites convinced him to do two more frescoes in the forecourt, though of a different subject thing: a Procession of the Magi (containing a self-portrait) finished in 1511 and a Nativity of the Virgin. These paintings met with respect, the correctness of the contours being particularly admired, and earned for Sarto the nickname of "Andrea senza errori" (Andrea the perfect). Towards 1512 he painted an (San Gallo Annunciation) Declaration in the Church of San Gallo and a Marriage of Saint Catherine (Dresden).

Past 1514 Andrea had finished his concluding 2 frescoes in the Chiostro dei Voti (SS. Annunziata), including his masterpiece, the Nascence of the Virgin, which fuses the influence of Leonardo, Ghirlandaio, and Fra Bartolomeo.^[8] Past Nov 1515 he had finished at the nearby Chiostro of the Confraternity of St John the Baptist, usually known as the Scalzo the Allegory of Justice and the Baptist preaching in the desert, followed in 1517 by John Baptizing the People.^[iii]

Visit to France [edit]

Del Sarto'southward most ambitious monument, in terms of the amount of time he devoted to it, is the grisaille serial in the Chiostro dello Scalzo.

Earlier the stop of 1516, a Pietà of Del Sarto's composition, and later a Madonna, were sent to the French Courtroom. This led to an invitation from François I, in 1518, and he journeyed to Paris in June of that year, along with his student Andrea Squarzzella, leaving his married woman, Lucrezia, in Florence.^[9]

Co-ordinate to Giorgio Vasari, Andrea'southward pupil and biographer,^[x] Lucrezia wrote to Andrea and demanded he render to Italy. The King assented, but only on the understanding that his absence from France was to be short. He and so entrusted Andrea with a sum of money to exist expended in purchasing works of fine art for the French Court. By Vasari'due south account, Andrea took the money and used it to buy himself a house in Florence, thus ruining his reputation and preventing him from ever returning to French republic.^[9] The story inspired Robert Browning's poem-monologue "Andrea del Sarto Called the 'Faultless Painter'" (1855),^[xi] but is now believed by some historians to be counterfeit.^[12]

Later works in Florence [edit]

Assumption of the Virgin (Poppi Altarpiece), 1530

In 1520 he resumed piece of work in Florence, and executed the Faith and Charity in the cloister of the Scalzo. These were succeeded by the Dance of the Daughter of Herodias, the Beheading of the Baptist, the Presentation of his head to Herod, an apologue of Promise, the Apparition of the Angel to Zacharias (1523) and the monochrome Visitation. This last was painted in the autumn of 1524, after Andrea had returned from Luco in Mugello, whence an outbreak of bubonic plague in Florence had driven him and his family unit. In 1525 he returned to paint in the Annunziata cloister the Madonna del Sacco, a lunette named after a sack against which Joseph is represented propped.^[9] In this painting the generous virgin's gown and her gaze indicate his influence on the early style of pupil Pontormo.

In 1523 Andrea painted a copy of the portrait grouping of Pope Leo X by Raphael; this copy is at present in the Museo di Capodimonte in Naples, while the original remains at the Pitti Palace. The Raphael painting was owned by Ottaviano de' Medici, and requested by Federico 2 Gonzaga, Knuckles of Mantua. Unwilling to part with the original, Ottaviano retained Andrea to produce a copy, which he passed to the Knuckles as the original. The imitation was then faithful that fifty-fifty Giulio Romano, who had himself manipulated the original to some extent, was completely fooled; and, on showing the copy years afterwards to Vasari, who knew the truth, he could exist convinced that it was not 18-carat only when a private marking on the canvass was pointed out to him past Vasari.^[nine]

Andrea'southward final work at the Scalzo was the Nativity of the Baptist (1526). In the following year he completed his last important painting, a Last Supper at San Salvi (now an inner suburb of Florence), in which all the characters appear to be portraits.^[9] The church is now the Museo del Cenacolo di Andrea del Sarto.

A number of his paintings were considered to be cocky-portraits. A Portrait of a Young man in the National Gallery, London was formerly believed to be a self-portrait,^[13] as was the Portrait of Becuccio Bicchieraio in National Gallery of Scotland,^[14] but both are at present known not to be. There is a self-portrait at Alnwick Castle, a fellow nigh twenty years, with his elbow on a tabular array. Another youthful portrait is in the Uffizi Gallery, and the Pitti Palace contains more than ane.^[9]

Madonna of the Harpies [edit]

The Madonna of the Harpies is a depiction of the Virgin and child on a pedestal, flanked past 2 saints (Bonaventure or Francis and John the Evangelist), and at her feet two cherubs. The pedestal is decorated with a relief depicting some feminine figures interpreted as harpies and thus gave rise, in English, to the proper name of the painting. Originally completed in 1517 for the convent of San Francesco dei Macci, the altarpiece now resides in the Uffizi. In an Italy swamped with a tsunami of Madonnas, it would be like shooting fish in a barrel to overlook this piece of work; however, this ordinarily copied scheme also lends itself to comparing of his fashion with that of his contemporaries. The figures have a Leonardo da Vinci-like aura, and the stable pyramid of their limerick provides a unified construction. In some ways, his rigid adherence is more than classical than Leonardo da Vinci'south but less then than Fra Bartolomeo's representations of the Holy Family.

Pietà with Saints, 1523-24

Personal life [edit]

Andrea married Lucrezia (del Fede), widow of a hatter named Carlo, of Recanati, on 26 December 1512. Lucrezia appears in many of his paintings, oftentimes as a Madonna. However, Vasari describes her as "faithless, jealous, and vixenish with the apprentices."^[10] She is similarly characterized in Robert Browning's poem.

Andrea died in Florence at historic period 44 during an outbreak of Bubonic Plague at the end of September 1530. He was cached unceremoniously by the Misericordia in the church building of the Servites.^[fifteen] In Lives of the Artists, Vasari claimed Andrea received no attention at all from his wife during his concluding illness.^[10] Nonetheless, it was well known at the time that plague was highly contagious, and so it has been speculated that Lucrezia was simply afraid to contract the virulent and frequently-fatal illness. If true, this well-founded caution was rewarded, as she survived her husband by 40 years.^[16]

Disquisitional assessment and legacy [edit]

It was Michelangelo who had introduced Vasari in 1524 to Andrea'south studio. He is said to have thought very highly of Andrea's talents.^[9] Of those who initially followed his way in Florence, the most prominent would take been Jacopo Pontormo, just also Rosso Fiorentino, Francesco Salviati, and Jacopino del Conte. Other lesser known assistants and pupils include Bernardo del Buda, Lamberto Lombardi, Nannuccio Fiorentino, and Andrea Squazzella.^[17]

Vasari, however, was highly critical of his teacher, alleging that, though having all the prerequisites of a great artist, he lacked ambition and that divine burn of inspiration which animated the works of his more famous contemporaries: Leonardo da Vinci, Michelangelo and Raphael.

On 21 November 1848, the play Andre del Sarto, by Alfred de Musset, premiered in Paris.

In 1968 the opera Andrea del Sarto by French composer Jean-Yves Daniel-Lesur was based on Alfred de Musset's 1848 play.

Partial anthology of works [edit]

• Holy Family unit with St Peter Martyr (1507-1508, Pinacoteca di Bari)
• Noli me tangere (c. 1510, Museo del Cenacolo di Andrea del Sarto, Florence)
• Virgin, Child, Elizabeth and John the Baptist (c. 1513, National Gallery, London)
• Portrait of the Artist's Wife (1513-1514, Museo del Prado, Madrid)
• Birth of the Virgin (1513-1514, Santissima Annunziata, Florence)
• Madonna of the Harpies (Virgin and Child, with St Francis, St John the Evangelist, and two angels) (1517, painted at S. Francesco, at present in Uffizi, Florence)
• Portrait of a Swain (1517-18, National Gallery, London)
• Charity (1518, Louvre, Paris)
• Julius Caesar receives Tribute (c. 1520, fresco at Poggio a Caiano, Italy; completed past Alessandro Allori)
• Virgin surrounded past Saints (Pitti Palace, Florence) ^[18]
• Madonna della Scala (c. 1522-1523, Museo del Prado, Madrid)
• Panciatichi Assumption (c. 1522-1523, Galleria Palatina, Pitti Palace, Florence)
• Pietà (1523-1524, Galleria Palatina, Pitti Palace, Florence)
• Passerini Assumption (1526, Galleria Palatina, Pitti Palace, Florence)
• Final Supper (1511-1527, Museo del Cenacolo di Andrea del Sarto, Florence)
• The Disputation on the Trinity (c. 1528, altarpiece for the Church building of San Gallo, now in the Uffizi, Florence)
• Gambassi Altarpiece (c. 1528, Galleria Palatina, Pitti Palace, Florence)
• Barberini Holy Family (c. 1528, Galleria Nazionale di Arte Antica, Palazzo Barberini, Rome)
• St. James with Two Youngs (c. 1528-1529, Uffizi, Florence)
• Vallombrosa Polyptych (c. 1528-1529, Uffizi, Florence)
• Holy Family with John the Baptist (c. 1529, Hermitage, Leningrad)
• Borgherini Holy Family (c. 1529, Metropolitan Museum, New York)
• Medici Holy Family (c. 1529, Galleria Palatina, Palazzo Pitti, Florence)
• Madonna in Celebrity with Four Saints (1530, Galleria Palatina, Palazzo Pitti, Florence)

Run into also [edit]

• Illustrated Biographies of the Slap-up Artists

Notes [edit]

1. ^ Norwich, John Julius (1990). Oxford Illustrated Encyclopedia Of The Arts. USA: Oxford Academy Printing. p. xvi. ISBN978-0198691372.
2. ^ Nesi, Alessandro. "Ser Spillo: Fratello di Andrea del Sarto". Maniera. 2016: ii – via Accademia.
3. ^ ^{a b c} Shearman, John (1965). Andrea del Sarto. Oxford.
4. ^ ^{a b} Rossetti 1911, p. 969.
5. ^ "Encyclopædia Britannica". Britannica.com. Retrieved 2019-07-xi .
6. ^ "mega.it". mega.information technology. Retrieved 2012-09-24 .
7. ^ [1] Archived Feb four, 2006, at the Wayback Machine
8. ^ "Compare it to Ghirlandaio'southward Quattrocento treatment". Wga.hu. Retrieved 2012-09-24 .
9. ^ ^{a b c d e f k} Rossetti 1911, p. 970.
10. ^ ^{a b c} Vasari, Giorgio. The Lives of the Artists. Oxford Academy Printing, USA; Reissue edition (Dec 15, 2008). ISBN 0-19-953719-iv
11. ^ "Stonehill". Faculty.stonehill.edu. Archived from the original on 2012-11-20. Retrieved 2012-09-24 .
12. ^ University of Toronto Library Archived January 4, 2010, at the Wayback Machine
13. ^ "National Gallery website". Nationalgallery.org.uk. Retrieved 2012-09-24 .
14. ^ National Gallery of Scotland website Archived June 20, 2010, at the Wayback Machine
15. ^ O'Brien, Alana. "Andrea del Sarto and the Compagnia dello Scalzo". Mitteilungen des Kunsthistorischen Institutes in Florenz. XLVIII (2004): 258–267, 262 – via JSTOR ACADEMIA.
16. ^ Cole, Thomas B. Andrea del Sarto fingers. Periodical of the American Medical Clan, Baronial 25, 2010, Vol. 304, No. eight, p. 833.
17. ^ J.R. Hobbes p. 258-nine.
18. ^ "Welcome to". Nelepets.com. Retrieved 2012-09-24 .

References [edit]

• This article incorporates text from a publication now in the public domain:Rossetti, William Michael (1911). "Andrea del Sarto". In Chisholm, Hugh (ed.). Encyclopædia Britannica. Vol. i (11th ed.). Cambridge Academy Printing. pp. 969–971.
• Freedberg, Sydney J. (1993). Pelican History of Fine art (ed.). Painting in Italia, 1500-1600. pp. xc–95 Penguin Books Ltd.
• Hobbes, James R. (1849). Picture collector's manual; Dictionary of Painters. T. & Due west. Boone, 29 Bail Street, London; Digitized by Googlebooks (2006) from Oxford library.

External links [edit]

• Andrea del Sarto in the "History of Art"
• Browning'southward "Andrea del Sarto" (aka "The Faultless Painter")
• "Andrea del Sarto". Catholic Encyclopedia. 1913.

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Source: https://en.wikipedia.org/wiki/Andrea_del_Sarto

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