安德烈·德尔·萨托作品

安德烈·德尔·萨托（真名为安德烈·达尧罗，1486－1530/31年）是佛罗伦萨画派一位重要代表比埃罗·德·柯西莫（1462－1521）的学生。但他的艺术是意大利文艺复兴盛期一个转折点的表征。萨托最崇拜的三个大师是：达·芬奇、米开朗基罗和僧侣画家巴托洛米奥，以后者对他的影响最深。这位僧侣画家与米开朗基罗本是同龄人，和萨托是师兄弟关系，两人都在柯西莫画坊学过艺。萨托崇拜巴托洛米奥，不仅在艺术上，还在思想上，后者还是宗教改革家萨伏纳罗拉的热烈响应者，巴托洛米奥之成为圣马可修道院的僧侣，是出于一种建立新教的心愿。 萨托的祭坛画与壁画人物一般重抒情性。当时不少贵族和主教家喜欢悬挂他的作品。后来萨托一生以创作框架式绘画作品为主。这一幅《阿庇埃圣母》是他的架上画代表作之一。我们欣赏这里的圣母，颇有米开朗基罗在《最后的审判》中的基督形象的动势。圣母高高站在台上，手抱的圣婴，却是个顽皮的安琪儿。两侧的圣徒呈舞蹈动作，一洗旧式圣母像的习俗。明暗处理简率洒脱，尤其圣母的脸庞，来自生活真实的成分更多些。她是意大利民间美女的翻版，因而圣洁感不足，风俗性有余。无怪有人说，萨托的画虽有拉斐尔的艳丽，却缺少他的柔美；有米开朗基罗的气度，但又找不到深沉的力度。

从1509年到1514年Servite秩序使用Del SartoFranciabigio和安德里亚Feltrini在一个项目壁画在教堂德拉桑蒂西马·阿努佳塔迪佛罗伦萨.Sarto完成七壁画在前院或心房(chiostro一些voti)Servite教堂前,5的说明生命和奇迹菲利波Benizzi,Servite圣人1285年去世(1671年)封为圣徒。他执行迅速,描绘圣疗愈一个麻风病人的礼物他undertunic;预测的最坏结局有些渎神者,和恢复鬼所附的一个女孩。这两个系列的最后壁画描绘了儿童的治疗菲利波Benizzi死床上的和生病的成人和儿童的治疗通过他的遗物服装在教堂举行。所有五个壁画是在1510年底之前完成。原合同还要求他画五圣塞巴斯蒂安的生命和奇迹的场景,但他告诉Servites,他不再想继续第二个周期,最有可能由于较低的薪酬。Servites说服他做两个壁画在前院,虽然不同的主题:麦琪的队伍(或崇拜,包含一个自画像)完成,1511年诞生的处女。这些画与尊重,轮廓特别钦佩的正确性,并获得Sarto的绰号“安德里亚无errori”(Andrea完美)。1512年他画一个报喜修道院盖洛和婚姻的圣凯瑟琳(德累斯顿)。

到1514年安德里亚已经完成了他的最后两个壁画,包括他的杰作维珍的诞生融合的影响莱奥纳多,是基尔兰达约和联邦铁路局巴特.1515年11月,他完成了Scalzo正义的寓言和浸信会在沙漠中讲道,1517年由约翰施洗,和其他科目。

安德烈·德尔·萨托作品

Early life and training

Andrea del Sarto was born Andrea d'Agnolo di Francesco di Luca di Paolo del Migliore in Florenceon 16 July 1486. Since his father, Agnolo, was a tailor (Italian: sarto), he became known as "del Sarto" (meaning "tailor's son").^[1] Since 1677 some have attributed the surname Vannucchi with little 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. According to his late biographer Vasari, he then apprenticed to Piero di Cosimo, and later 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 FlorentineCompagnia dello Scalzo, the beginning of a monochrome fresco series. By the time the partnership was dissolved, Sarto's style bore the stamp of individuality. According to the Encyclopedia Britannica, it "is marked throughout his career by an interest, exceptional among Florentines, in effects of colour and atmosphere and by sophisticated informality and natural expression of emotion."^[2]

Frescoes at SS Annunziata in Florence

From 1509 to 1514 the Servite Order employed Del Sarto, Franciabigio and Andrea Feltrini in a programme of frescoes at Basilica della Santissima Annunziata di Firenze. Sarto completed seven frescoes in the forecourt or atrium (the chiostro dei voti) before the Servite church, five of which illustrated the Life and miracles of Filippo Benizzi, a Servite saint who died in 1285 (canonized 1671). He executed them rapidly, 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. All five frescoes were completed before the close of 1510. The original contract also required him to paint five scenes of the life and miracles of St Sebastian, but he told the Servites that he no longer wished to continue 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 matter: a Procession of the Magi (or Adoration, 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 Annunciation in the monastery of S. Gallo and a Marriage of Saint Catherine (Dresden).

By 1514 Andrea had finished his last two frescoes, including his masterpiece, the Birth of the Virgin, which fuses the influence of Leonardo, Ghirlandaio and Fra Bartolomeo. By November 1515 he had finished at the Scalzo the Allegory of Justice and the Baptist preaching in the desert, followed in 1517 by John Baptizing, and other subjects.

Visit to France

Before the end of 1516 a Pietà of Del Sarto's composition, and afterwards a Madonna, were sent to the French Court. This led to an invitation from François I, in 1518, and he journeyed to Paris in June of that year, along with his pupil Andrea Squarzzella, leaving his wife, Lucrezia, in Florence.

According to Giorgio Vasari, Andrea's pupil and biographer,^[6] Lucrezia wrote to Andrea and demanded he return to Italy. The King assented, but only on the understanding that his absence from France was to be short. He then entrusted Andrea with a sum of money to be expended in purchasing works of art for the French Court. By Vasari's 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 France. The story inspired Robert Browning's poem-monologue "Andrea del Sarto Called the 'Faultless Painter'" (1855),^[7] but is now believed by some historians to be apocryphal.

Later works in Florence

In 1520 he resumed 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, thePresentation of his head to Herod, an allegory of Hope, 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. 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. 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 group of Pope Leo X by Raphael; this copy is now 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 II Gonzaga, Duke of Mantua. Unwilling to part with the original, Ottaviano retained Andrea to produce a copy, which he passed to the Duke as the original. The imitation was so faithful that even 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 only be convinced that it was not genuine when a private mark on the canvas was pointed out to him by Vasari.

Andrea's final work at the Scalzo was the Birth of the Baptist (1526). In the following year he completed his last important painting, aLast Supper at San Salvi (now an inner suburb of Florence), in which all the characters appear to be portraits.

A number of his paintings were considered to be self-portraits. A Portrait of a Young Man in the National Gallery, London was formerly believed to be a self-portrait,^[9] as was the Portrait of Becuccio Bicchieraio in National Gallery of Scotland,^[10] but both are now known not to be. There is a self-portrait at Alnwick Castle, a young man about twenty years, with his elbow on a table. Another youthful portrait is in the Uffizi Gallery, and the Pitti Palace contains more than one.

Madonna of the Harpies

The Madonna of the Harpies is a depiction of the Virgin and child on a pedestal, flanked by two 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 harpiesand thus gave rise, in English, to the 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 easy to overlook this work; however, this commonly copied scheme also lends itself to comparison of his style with that of his contemporaries. The figures have a Leonardo da Vinci-like aura, and the stable pyramid of their composition provides a unified structure. In some ways, his rigid adherence is more classical than Leonardo da Vinci's but less so than Fra Bartolomeo's representations of the Holy Family.

Personal life

Andrea married Lucrezia (del Fede), widow of a hatter named Carlo, of Recanati, on 26 December 1512. Lucrezia appears in many of his paintings, often as a Madonna. However, Vasari describes her as "faithless, jealous, and vixenish with the apprentices."^[6] She is similarly characterized in Robert Browning's poem.

Andrea died in Florence at age 43 during an outbreak of Bubonic Plague at the end of September 1530. He was buried unceremoniously by the Misericordia in the church of the Servites. In Lives of the Artists, Vasari claimed Andrea received no attention at all from his wife during his terminal illness. However, it was well-known at the time that plague was highly contagious, so it has been speculated that Lucrezia was simply afraid to contract the virulent and frequently-fatal disease. If true, this well-founded caution was rewarded, as she survived her husband by 40 years.

Critical assessment and legacy

It was Michelangelo who had introduced Vasari in 1524 to Andrea's studio. He is said to have thought very highly of Andrea's talents. Of those who initially followed his style in Florence, the most prominent would have been Jacopo Pontormo, but 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.

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 fire of inspiration which animated the works of his more famous contemporaries, like Leonardo da Vinci, Michelangelo and Raphael.