Maso da San Friano | |
|---|---|
 Maso da San Friano, Allegoryy of the Fortitudo, Florence, Galleria dell'Accademia | |
| Born | Tomato d'Antonio Manzuoli, called Maso da San Friano 1536 |
| Died | 1571 |
| Known for | Painting |
| Movement | Manierism |
Maso da San Friano (1536–1571) was an Italian painter active in Florence. His real name was Tomaso D'Antonio Manzuoli. He was born in San Friano and died in Florence.
He was born in Florence on 4 November 1531, in the area of Porta San Frediano, from which he derived his nickname. He received his early training in P.F. Foschi's workshop, educated in comparison with the greats of Mannerism, in particular Pontormo
According to Giorgio Vasari, Maso was a pupil of Pier Francesco Foschi while others claim it was Carlo Portelli, he was educated with the other important artist of Mannerism, in particular Pontormo He collaborated with an elder Michelangelo on some projects.
His altarpiece of the Visitation was painted in 1560 for the church of San Pier Maggiore, Florence - now in Trinity Hall Chapel, Cambridge, England. A similar work can be seen in the Prato cathedral. After 1561, he painted in the church of Ognissanti, Florence and in the church of Santa Felicita.
He is regarded as part of the Counter-Maniera or Counter-Mannerism movement in Florence. His most important pupils were Jacopo da Empoli and Alessandro Fei.
One of his paintings, thought to be of Cosimo I de Medici in 1560, is believed to be the oldest to show a watch. [1]
He died in 1571 and was buried in the Church of the Carmine in Florence on 2 October.
Between 1570 and 1571, the two visionary panels for the so-called Studiolo of Francesco I in the Palazzo Vecchio in Florence, the painter's true artistic testament, were completed. Coordinated by Giorgio Vasari, the collective undertaking of decoration saw Maso engaged on the western wall, dedicated to the element of air. Between mythological erudition, hermetic symbolism and perhaps also magical-alchemical allusions, he faithfully adhered to the programme in the upper register panel. The primary source of reference for the Diamond Mine was Pliny's discussion of crystal. Derived from the solidification of atmospheric moisture cooled by the winds, it was often juxtaposed with the precious materials painted by Maso, as naked men collect them against the backdrop of a rugged, shimmering mountain, climbed with ropes and baskets by other prospectors. The bizarre posture of the figures, with one hand tied behind their backs, seems to evoke the chains of Prometheus, celebrated in the ceiling of the studiolo and recalled in Natural History precisely with regard to man's passion for gems. The crowded and colourful scene in the foreground, where one of the nudes offers stones to exotically clad characters, calls to mind literature on the Indies, in particular Garcia da Orta, from which the motif takes its inspiration. The oriental composition seems to have been elaborated by M. on the basis of his own drawing (Rennes, Musée des beaux-arts), itself inspired by an engraving by Luke of Leiden, in circulation in Florence since the beginning of the century. In the case of the oval of the Fall of Icarus in the lower band, intended to decorate one of the doors of the cupboards in which Francesco's collection of rarities was kept, the choice of the motif is part of a complex system of correspondences between the iconographic programme and the objects kept in the studiolo. Rather than alluding to feather artefacts, the Ovidian subject, in itself pertinent to the theme of air, still refers to Plinian theory on crystal, evoking the presence of refined artefacts produced by the Medici craftsmen . Maso's painting of facetted planes and precious colours confirms his decisive Pontormesque ancestry, to which the characterised counterpoint of the characters and their articulate gestures refer, especially in the Diamond Mine. A talent for small-format figures and refined execution make Maso's panels one of the most fantastic and whimsical creations of the last season of the Florentine manner.
Alessandro di Cristofano di Lorenzo del Bronzino Allori was an Italian painter of the late Mannerist Florentine school.
Giorgio Vasari was an Italian Renaissance painter and architect, who is best known for his work Lives of the Most Excellent Painters, Sculptors, and Architects, considered the ideological foundation of all art-historical writing, and still much cited in modern biographies of the many Italian Renaissance artists he covers, including Leonardo da Vinci and Michelangelo, although he is now regarded as including many factual errors, especially when covering artists from before he was born.
Jacopo Carucci or Carrucci, usually known as Jacopo (da) Pontormo or simply Pontormo, was an Italian Mannerist painter and portraitist from the Florentine School. His work represents a profound stylistic shift from the calm perspectival regularity that characterized the art of the Florentine Renaissance. He is famous for his use of twining poses, coupled with ambiguous perspective; his figures often seem to float in an uncertain environment, unhampered by the forces of gravity.
Santa Felicita is a Roman Catholic church in Florence, region of Tuscany, Italy, probably the oldest in the city after San Lorenzo. In the 2nd century, Syrian Greek merchants settled in the area south of the Arno and are thought to have brought Christianity to the region. The first church on the site was probably built in the late 4th century or early 5th century and was dedicated to Saint Felicity of Rome. A new church was built in the 11th century and the current church largely dates from 1736–1739, under design by Ferdinando Ruggieri, who turned it into a one nave edifice. The monastery was suppressed under the Napoleonic occupation of 1808–1810.
The Palazzo Vecchio is the town hall of Florence, Italy. It overlooks the Piazza della Signoria, which holds a copy of Michelangelo's David statue, and the gallery of statues in the adjacent Loggia dei Lanzi.
Santi di Tito was one of the most influential and leading Italian painters of the proto-Baroque style – what is sometimes referred to as "Counter-Maniera" or Counter-Mannerism.
Agnolo di Cosimo, usually known as Bronzino or Agnolo Bronzino, was an Italian Mannerist painter from Florence. His sobriquet, Bronzino, may refer to his relatively dark skin or reddish hair.
Stradanus, Johannes Stradanus, Jan van der Straet or Giovanni Stradano was a Flemish artist active mainly in 16th-century Florence, Italy. He was a wide-ranging talent who worked as an easel and fresco painter, designer of tapestries, draughtsman, designer of prints and pottery decorator. His subject range was varied and included history subjects, mythological scenes, allegories, landscapes, genre scenes, portraits, architectural scenes and animals. After training in his native Flanders, he left his home country and ultimately settled down in Florence, Italy. He became a prominent court artist to the Medici during the second half of the 16th century and worked on the many decorative projects of the court. Stradanus also produced large altarpieces for the most important churches in Florence.
The Studiolo is a small painting-encrusted barrel-vaulted room in the Palazzo Vecchio, Florence, Italy. It was commissioned by Francesco I de' Medici, Grand Duke of Tuscany. It was completed for the duke from 1570 to 1572, by teams of artists under the supervision of Giorgio Vasari and the scholars Giovanni Batista Adriani and Vincenzo Borghini.
Jacopo da Empoli was an Italian Florentine Reformist painter.
Giovanni Battista Naldini (1535–1591) was an Italian painter in a late-Mannerist style, active in Florence and Rome.
Francesco Salviati or Francesco de' Rossi was an Italian Mannerist painter who lived and worked in Florence, with periods in Bologna and Venice, ending with a long period in Rome, where he died. He is known by various names, usually the adopted one of Francesco Salviati or Il Salviati, after an early patron, but also Francesco Rossi and Cecchino del Salviati.
Alessandro Fei (1543–1592) was an Italian painter active in Florence, working in a Mannerist style. He was also called il Barbiere. He participated in the Vasari-directed decoration of the Studiolo of Francesco I with an oval canvas relating a Goldsmith Shop story. He also painted an altarpiece on the Flagellation of Christ for the Basilica church of Santa Croce in Florence. Trained under Ridolfo del Ghirlandaio. Piero Francia, and under Tommaso Manzuoli, better known as Maso da San Friano, Fei became a member of the Accademia dell’Arte e del Disegno in Florence in 1563 and was a trusted assistant of Giorgio Vasari up until 1574. The artist spent most of his career in Florence, except for a trip to Rome at the side of the Aretine painter to decorate the Vatican chapels of Pope Pius VI.
Francesco Morandini was an Italian painter active in Florence, working in a Mannerist style. He was also called il Poppi after his native town. He was a pupil of Vincenzo Borghini, and later he was Giorgio Vasari's assistant for many years.
Jacopo Zucchi was a Florentine painter of the Mannerist style, active in Florence and Rome.
Florentine painting or the Florentine School refers to artists in, from, or influenced by the naturalistic style developed in Florence in the 14th century, largely through the efforts of Giotto di Bondone, and in the 15th century the leading school of Western painting. Some of the best known painters of the earlier Florentine School are Fra Angelico, Botticelli, Filippo Lippi, the Ghirlandaio family, Masolino, and Masaccio.
Andrea del Sarto was an Italian painter from Florence, whose career flourished during the High Renaissance and early Mannerism. He was known as an outstanding fresco decorator, painter of altar-pieces, portraitist, draughtsman, and colorist. Although highly regarded during his lifetime as an artist senza errori, his renown was eclipsed after his death by that of his contemporaries Leonardo da Vinci, Michelangelo, and Raphael.
The Medici Villa of Poggio a Caiano, also called Ambra, is one of the most famous Medici villas and is located in Poggio a Caiano (Prato). Today it is state owned and it houses two museums: one of the historic apartments and the Museum of Still Life.
The Forge of Vulcan or Vulcan's Forge is an oil-on-copper painting by the Italian artist Giorgio Vasari, executed c. 1564, now in the Uffizi in Florence. A copy painted c. 1565–1567 by Pier Candido is now in Windsor Castle as part of the Royal Collection.
| International | |
|---|---|
| National | |
| Artists | |
| People | |
| Other | |
