阿利桑得欧·阿楼瑞，佛罗伦萨人，意大利巴洛克风格画家，1535年5月31——1607年9月22日，擅长人物肖像的创作。运用简单的线条，就可以刻画人物的特点，惟妙惟肖，表情丰富，准确反映出人物的内心以及所要表达的情感。 阿利桑得欧·阿楼瑞生于佛罗伦萨，1540年，他父亲死后，阿利桑得欧·阿楼瑞子在他父亲的一位好朋友，画家安诺罗·布隆奇诺那里学习绘画，所以，为了感谢老师，阿利桑得欧·阿楼瑞经常用老师的名字来命名他的作品。某种意义上说，阿利桑得欧·阿楼瑞是最后的一位佛罗伦萨画家。 阿利桑得欧·阿楼瑞的主要的代表作品有：《天使守护基督》《年轻男子的肖像》《女子肖像》等。
亚历山德罗di Cristofano di Lorenzo del布龙齐诺Allori(佛罗伦萨,1535年5月31日- 1607年9月22日)是一个意大利肖像画家末的矫揉造作者佛罗伦萨学校。
大公爵夫人的画像比安卡卡佩罗•德•美第奇Allori,达拉斯艺术博物馆
1540年,死后他的父亲,他是长大和训练在艺术由一个亲密的朋友,通常被称为他的“叔叔”,矫饰主义画家尼奥布龙齐诺的他的名字,他有时认为他的画。在某些方面,Allori是最后的佛罗伦萨著名画家,普遍未稀释的托斯卡纳的艺术遗产:安德列亚•德尔萨托一起工作联邦铁路局巴特(以及列奥纳多·达·芬奇),Pontormo安德里亚下短暂工作,培训布龙齐诺的Allori训练。城里的后代会强烈影响的潮流巴洛克式的意大利风格卓越的其他地区。
Freedberg嘲笑Allori导数,声称他说明了“理想的Maniera艺术(风格)生成的预先存在的艺术。“波兰的数据有一个自然的marble-like形式好像他瞄准冰冷的雕像。可以说矫饰主义绘画在佛罗伦萨的阶段,早期的城市融入雕像等大师的作品多纳泰罗和米开朗基罗,还是吓到了他们,所以石化人物绘画的姿势。而到1600年,巴洛克式的其他地方开始给生命画人物,佛罗伦萨是画二维雕像。此外,一般而言,除了Counter-Maniera(Counter-Mannerism)的艺术家,它不敢偏离主题或流浪到高中的情感。
他的合作者之一是乔瓦尼·玛丽亚·Butteri主要和他的学生乔凡尼Bizzelli。Cristoforo▽最高的,凯撒Dandini,奥利留的食物约翰·Mosnier亚历山德罗Pieroni,Giovanni Battista万尼,Monanni也是他的学生。Allori是艺术家,下工作瓦萨里,包括装饰的Studiola FrancescoI的.
他的父亲是画家Cristofano Allori(1577 - 1621)。
In 1540, after the death of his father, 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 trainedBronzino, 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.
Freedberg 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 andMichelangelo, 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 Counter-Maniera (Counter-Mannerism) artists, it dared not stray from high themes or stray into high emotion.
Among his collaborators was Giovanni Maria Butteri and his main pupil was Giovanni Bizzelli. Cristoforo del Altissimo, Cesare Dandini,Aurelio Lomi, John Mosnier, Alessandro Pieroni, Giovanni Battista Vanni, and Monanni also were his pupils.[1] Allori was one of the artists, working under Vasari, included in the decoration of the Studiola of Francesco I.
He was the father of the painter Cristofano Allori (1577–1621).
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