安德里亚·索拉里作品

历史

Solario出生在米兰。他是最重要的支持者之一列奥纳多·达·芬奇的兄弟,Cristoforo索拉里,他给了他第一次培训工作而广泛采用米兰大教堂,在Certosa迪帕维亚.1490年,他陪同他的弟弟威尼斯,他似乎已经被强烈的影响Antonello da墨西拿当时活跃在这个城市。罚款的威尼斯参议员(目前的画像伦敦国家美术馆)显示Antonello塑料概念的形式和可能是画约1492。这两兄弟回到了米兰在1493年。在都灵Poldi-Pezzoli博物馆,是以其强大的造型,可能是画后不久他的到来。

索拉里日期最早的工作是一个神圣的家庭和圣杰罗姆(在布雷拉美术馆),一个不错的景观背景,在执行慕拉诺岛在1495年。麦当娜证明了安德里亚的达芬奇的类型从威尼斯回来后,他成为了伟大的强烈影响佛罗伦萨的艺术家,当时在他面前的一切。这一时期的安德里亚属于一个小十字架(1503年罗浮宫),的肖像查尔斯·d 'Amboise (罗浮宫),乔凡尼的肖像Longoni(1505伦敦国家美术馆);通告(1506菲茨威廉博物馆,剑桥);美丽的处女绿色缓冲(罗浮宫),一个敏感的处女的头Ambrosiana在米兰,浸信会的负责人在银充电器(1507年罗浮宫).

1507年安德里亚·索拉里去法国与字母的基本介绍安博瓦兹两年,是在他的城堡教堂的壁画防地在诺曼底.根据乔凡尼Morelli的建议,^[5]艺术家可能会访问弗兰德斯之前回到自己的祖国,这也许可以解释为他后来的佛兰德特性工作。

艺术家于1515年在意大利,飞行到埃及的日期(Poldi-Pezzoli集合)的和谐和详细的景观背景。这段时间还是丝毫不懂加略山队伍属于(鲍格才家族画廊,罗马);总理Domenico马龙的肖像(宫殿Scotti、米兰);和女人弹吉他(在国家美术馆的古老艺术,罗马)。

安德里亚的最后一个工作是一个祭坛的装饰品代表圣母的假设,留下未完成的在他的死亡和完成贝纳迪诺皮约1576人。

另请参阅画廊(下图)索拉里的选择的工作。

Solario was born in Milan. He was one of the most important followers of Leonardo da Vinci, and brother of Cristoforo Solari, who gave him his first training whilst employed extensively on work at the Milan cathedral, and at the Certosa di Pavia. In 1490 he accompanied his brother to Venice, where he seems to have been strongly influenced by Antonello da Messina, who was then active in the city. The fine portrait of a Venetian Senator (currently at the National Gallery of London) displays Antonello's plastic conception of form and was probably painted about 1492. The two brothers returned to Milan in 1493. The Ecce Homo at the Poldi-Pezzoli Museum, notable for its strong modelling, may have been painted soon after his arrival.

Solari's earliest dated work is a Holy Family and St. Jerome (at the Brera Gallery), with a fine landscape background, executed at Murano in 1495. The Leonardesque type of the Madonna proves that Andrea after his return from Venice, became strongly influenced by the greatFlorentine artist, who was then carrying everything before him. To this period of Andrea belong a small Crucifixion (1503, at the Louvre) and the portrait of Charles d'Amboise (Louvre); the portrait of Giovanni Longoni (1505, National Gallery of London); the Annunciation (1506,Fitzwilliam Museum, Cambridge); and the beautiful Virgin of the Green Cushion (Louvre), for which a sensitive drawing of the Virgin's head is in the Ambrosiana at Milan; and the Head of the Baptist in a silver charger (1507, Louvre).

In 1507 Andrea Solari went to France with letters of introduction to the Cardinal of Amboise, and was employed for two years on frescoes in the chapel of his castle of Gaillon in Normandy. According to Giovanni Morelli's suggestion, the artist may have visited Flandersbefore returning to his native country, and this may account for the Flemish character of his later work.

The artist was back in Italy in 1515, the date of the Flight into Egypt (Poldi-Pezzoli Collection) with its harmonious and detailed landscape background. To this period belong the Procession to Calvary (Borghese Gallery, Rome); the portrait of the Chancellor Domenico Morone (Palazzo Scotti, Milan); and the Woman playing a guitar (at the National Gallery of Ancient Art, Rome).

Andrea's last work was an altarpiece representing The Assumption of the Virgin, left unfinished at his death and completed by Bernardino Campi about 1576.

See also Gallery (below) for a selection of Solari's work.