St_James 159 x 86 cm Galleria degli Uffizi, Florence In this painting Andrea del Sarto appears to reflect on an archaising iconography in the style of Fra Bartolomeo. The figure is large and dominant, yet the proportions between the masses and the space are accurate. Even the extended spreading of the colours seems intended to lighten the weight of the figure, which due to the faint and uncertain light stands alone and isolated against the background surroundings. It is the standard of the Compagnia di San Jacopo del Nicchio. The two children wear the costume of the "battuti". It is a late work and very beautiful. The painting was restored in 1989.Artist:ANDREA DEL SARTO Title: St James Painted in 1501-1550 , Italian - - painting : religious
Holy_Family 1528 Oil on panel, 140 x 104 cm Galleria Nazionale d'Arte Antica, Rome In his biography of Andrea del Sarto, Vasari mentions this painting right after a panel of the same subject painted for Zanobi Bracci. The latter picture survives: given to Cardinal Ferdinando de Medici it is now in the Galleria Palatina at the Palazzo Pitti in Florence. The picture now in Rome, painted for the same Zanobi, was originally installed in the chapel of the Villa di Rovezzano. Numerous copies of this celebrated work exist. Art historians set the date of the composition at 1528-29, comparing it to the Madonna, St Elizabeth and St John the Baptist that Andrea executed for Ottaviano de' Medici. The figure of St Joseph is clearly related to the Raphaelesque model of the Louvre Sacred Family, once owned by King Fran?ois I.Artist:ANDREA DEL SARTO Title: Holy Family (Barberini) Painted in 1501-1550 , Italian - - painting : religious
Andrea_del_Sarto Italian High Renaissance Painter , 1486-1530
Italian painter and draughtsman. He was the leading painter in Florence in the early years of the 16th century, and, under the influence of Leonardo da Vinci, Fra Bartolommeo, Michelangelo and Raphael, he elaborated and perfected the classical style of the High Renaissance. In the second decade of the 16th century his art anticipated aspects of Mannerism, while his direct, immediate works of the 1520s became important models for the more naturalistic Tuscan artists of the Counter-Reformation. He painted mainly religious works, including both altarpieces and major cycles of frescoes. His portraits, distinguished by a dreamily poetic quality,
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