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Venus and Cupid
ALLORI Alessandro6.jpg
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Venus_and_Cupid
Oil on wood
Mus??e Fabre, Montpellier
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Madonna and Child
new3/ALLORI Alessandro-868782.jpg
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Madonna_and_Child
mk65
Oil on canvas
51x45"
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Portrait of Barbara Pallavicino
new3/ALLORI Alessandro-398937.jpg
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Portrait_of_Barbara_Pallavicino
mk67
Oil on panel
18 5/16x13 3/4in
Uffizi,Gallery.
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The Annunciation
new3/ALLORI Alessandro-493234.jpg
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The_Annunciation
mk67
Oil on canvas
63 3/4x40 9/16in
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The Baptism of Christ
new3/ALLORI Alessandro-483856.jpg
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The_Baptism_of_Christ
mk67
Oil on panel
65 1/8x38 3/16in
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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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