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ROSSO FIORENTINO
Italian
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Rosso Fiorentino
(1495-1540) 40) |
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Rosso Fiorentino:
Italian painter and decorator, (also
called IL ROSSO, original name Giovanni Battista di Jacopo Rosso) an
exponent of the expressive style that is often called early, or
Florentine, Mannerism, and one of the founders of the Fontainebleau
school.
Vasari says that he 'would not bind himself to any master' (a story that
fits in with his individuality of temperament), but in his youth he
learned most from Andrea del Sarto, and together with Andrea's pupil
Pontormo (Rosso's friend and close contemporary) he was one of the
leading figures in the early development of Mannerism. The earliest
works of Rosso and Pontormo combined influences from Michelangelo and
from northern Gothic engravings in a novel style, which departed from
the tenets of High Renaissance art and was characterized by its highly
charged emotionalism. Rosso's work was highly sophisticated and varied
in mood, ranging from the Assumption (1517; fresco at SS. Annunziata,
Florence) to the refined elegance of the Marriage of the Virgin (S.
Lorenzo, Florence, 1523), to the violent energy of Moses and the
Daughters of Jethro (Uffizi, Florence, c.1523) and to the disquieting
intensity of the Deposítion (Galleria Pittorica, Volterra, 1521).
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At the end of 1523 Rosso moved to Rome, where his exposure to
Michelangelo's Sistine ceiling, the late art of Raphael, and the work of
Parmigianino resulted in a radical realignment of his style. His Dead
Christ with Angels (c. 1526) exemplifies this new style with its feeling
for rarefied beauty and subdued emotion. Fleeing from the Sack of the
city in 1527, he worked briefly in several central Italian towns. In
1530, on the invitation of Francis I, he went to France (by way of
Venice) and remained in the royal service there until his death. Vasari,
whose biography of Rosso also includes an entertaining story about his
pet baboon, says that he killed himself in remorse after falsely
accusing a friend of stealing money from him, but this may well be
apocryphal.
Rosso's principal surviving work is the decoration of the Galerie
François I at the palace of Fontainebleau (c. 1534-37), where, in
collaboration with Francesco Primaticcio, he developed an ornamental
style whose influence was felt throughout northern Europe. His numerous
designs for engravings also exercised a wide influence on the decorative
arts both in Italy and in northern Europe.
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