Значение слова "ANDREA DEL SARTO" найдено в 3 источниках

ANDREA DEL SARTO

Andrea Del Sarto

Andrea del Sarto

^{† Catholic_Encyclopedia ► Andrea del Sarto}

(ANDREA D'AGNOLO)

Born at Florence in 1486; d. there in 1531. He received the surname Sarto from the fact that he was the son of a tailor. At first he was the pupil of an obscure master, G. Barile, but in 1498 he entered the studio of Piero di Cosimo. He visited Rome for a short time. Vasari says, that had he remained there long enough to study its masterpieces, he would have "surpassed all the artists of his day." Naturally diffident, he felt himself a stranger there, and hastened to return to Florence. Despite his brief career, he produced a large number of frescoes and easel pictures. In 1509 he began the fresco decoration of the little cloister of the Annunziata, connected with the Servite church and convent at Florence. He depicted five scenes from the life of St. Philip Benizi, General of the Servites: "His Charity to a Leper"; "The Smiting of the Blasphemers"; "The Cure of the Woman Possessed with a Devil"; "The Resurrection of Two Children near the Tomb of the Saint"; "The Veneration of his Relics." Later he added the "Adoration of the Magi" (1511) and the "Nativity of the Virgin" (1514). In 1525, by way of farewell, he painted for this convent the masterpiece, "The Madonna of the Sack," so called because in it St. Joseph is represented leaning against a sack. In 1514, in the cloister of the Scalzo, he executed a series of ten frescoes, recounting the history of St. John the Baptist. Four allegorical figures, Faith, Hope, Charity, and Justice, complete the decorative cycle. The influence of Albrecht Duerer has been traced in several, but that of Ghirlandajo has been recognized in this as well as in the preceding cycle, though here Andrea displays a more original bent. In Poggio's villa at Cajano he painted the fresco (1521), "Caesar receiving the Tribute of the Animal World," by way of complimenting the zoological tastes of Lorenzo the Magnificent. The work was finished in 1582 by Al. Allori. A beautifully executed series of figures, especially those of Sts. Agnes, Catherine, and Margaret, were painted (1524) in the cathedral of Pisa. His last fresco, "The Last Supper," was done for the refectory in the convent of San Salvi, at the gates of Florence. Here Andrea drew his inspiration from Leonardo da Vinci. The beautiful work shows lively and varied colouring, but lacks the perfection of drawing and especially the dramatic quality of the "Last Supper" of Milan.

His principal pictures are: at the Pitti Palace, "The Annunciation" (1513); "Madonna with Sts. Francis and John the Evangelist" (1517); "Disputation concerning the Trinity" (1517), a very careful painting in which the artist "comes closest to intellectual expression" (Burckhardt); "Descent from the Cross" (1524); "Madonna with four saints" (1524); "The Assumption" (1526), of which there are two variations; at the Uffizi "Madonna of the Harpies, with St. Francis and St. John" (1517), so called because of the decorations on the pedestal on which the Blessed Virgin stands with the Infant Jesus in her arms; at the Museum of Berlin, "The Virgin with Saints" (1528); in the Dresden Gallery, "The Sacrifice of Abraham"; "The Marriage of St. Catherine"; at the Hermitage Museum, St. Petersburg, "Madonna between Sts. Catherine and Elizabeth"; at the Museum of Vienna, "The Pieta" (1517); at the Louvre, "The Virgin with the Infant Jesus, St. Elizabeth and St. John," which is an imitation of Raphael's "Madonna Canigiani"; "Charity." These two pictures were purchased by Francis I. According to Vasari, the King of France was charmed with his talent and induced him to come to Paris. His portrait of the dauphin and "Charity" must have been painted during his stay at the court. Obtaining permission to visit Florence, he departed, with money to collect works of art for Francis I; but, being of weak character and dominated by his wife, a beautiful and unscrupulous coquette, he squandered the money and did not return to Paris. He has left several portraits of himself (Pitti Palace, Uffizi, and National Gallery). Andrea del Sarto owes much to Fra Bartolommeo, borrowing from him the architectural arrangement of his compositions as in "Charity" of the Louvre, where triangle grouping is used. Andrea was above all a colourist, "the greatest colourist of the sixteenth century, in the region south of the Apennines" (Burckhardt). In this also he resembles Bartolommeo but shows more care for chiaroscuro. Like Leonardo da Vinci he excels in sfumato. His drawings, many of which are preserved at the Uffizi and the Louvre, are characterized by a melting softness which recalls Correggio's delicate execution, but this excessive love of colour led him to neglect the superior beauty of expression; his pictures lack conviction and character. Not understanding the true character which each face should express, he usually confines himself to repeating the same type of Madonnas and Infant Christs, and thus produces an effect of coldness and artificiality.

VASARI, Le vite de' piu eccellenti pittori, ed. MILANESI, V (Florence, 1880), 5-72; REUMONT, Andrea del Sarto (Leipzig, 1835); CROWE AND CAVACASELLE, History of Painting in Italy, III (London, 1866), 542; MANTZ, Gazette des Beaux Arts (1876), I, 465; (1877), I, 38, 261, 338; CHAMPLIN, Cyclopedia of Painters and Paintings, IV (New York and London, 1888); MUENTZ, Hist. de l'art pendant la Renaissance, III (Paris, 1895), 508-10; GUINNESS, Andrea del Sarto (London, 1899); KNAPP, Andrea del Sarto (Bielefeld, 1907); PERATE, Andrea del Sarto in MICHEL, Hist. de l'Art, IV (Paris, 1909), 382-86.

GASTON SORTAIS

Transcribed by John Fobian In memory of Joseph Bula

The Catholic Encyclopedia, Volume VIII. — New York: Robert Appleton Company.Nihil Obstat.1910.

найдено в "Renaissance and Reformation 1500-1620_ A Biographical Dictionary"

(1486-1530)

Born Andrea d'Agnolo, Andrea del Sarto was the most successful painter in Florence in the second and third decades of the sixteenth century; his art exemplifies the High Renaissance style and led the way into the development of Mannerism. Born in Florence, Andrea trained with Piero di Cosimo and established himself as an independent artist in 1508. Although his teacher worked in an early Renaissance style, Andrea's exposure to the art of Leonardo da Vinci, Michelangelo,* and Raphael* in the early years of the sixteenth century led him to become a leading proponent of High Renaissance painting by 1510. He primarily produced religious works, both frescoes and panels, although he achieved some success as a portraitist as well; more than fifty paintings plus numerous drawings survive from his short career.

His earliest important commission was for a series of frescoes in the Church of the Scalzi in Florence; the first of these was painted perhaps as early as 1507, and he continued to work intermittently on the cycle until 1526. In 1510 Andrea was paid for five frescoes of the life of St. Filippo Benizi in the atrium of Santissima Annunziata in Florence. In both cycles we can see the remnants of an early Renaissance approach in the use of detailed landscapes and lively figures, but Andrea also explored the High Renaissance formula of idealized naturalism: figures' anatomies were well understood; space was clearly indicated; and compositions were balanced and grand. At the same time, he imparted to the formula his own particular touch of intimacy and gentleness.

By the second decade of the century High Renaissance classicism was beginning to seem dated, and Andrea started to add a more expressive element to his art. A series of panel paintings produced between 1512 and 1518, including his most famous altarpiece, Madonna of the Harpies (Florence, Uffizi, 1517), showed him exploring more vivid colors, less predictable compositions, and more complicated figural poses.

Andrea was invited to Paris in 1518, where Francois I* established him as court painter. Upon his return to Florence a year later, he embarked on a new phase in his work, abandoning a naturalistic approach for a more calculated and artificial style that would lead into the elegant forms of Mannerism. The paintings of the 1520s are monumental compositions, the figures are heroic and graceful, forms are sculptural and expressive, and there is a marked use of chiaroscuro.

Andrea del Sarto's career bridged the gap from the early Renaissance tradition through the High Renaissance to Mannerism. While he was not one of the greatest innovators of the early sixteenth century, his notable skills, exquisite sensitivity, and depth of feeling led him to produce an art that served as a model for many later artists.

Bibliography

J. Shearman, Andrea del Sarto, 2 vols., 1965.

Jane C. Long

найдено в "Universal-Lexicon"

Andrea del Sạrto,

eigentlich Andrea d'Agnolo ['daɲolo], italienischer Maler, * Florenz 16. 7. 1486, ✝ ebenda 29. 9. 1530; Schüler des Piero di Cosimo, beeinflusst von Fra Bartolomeo, Leonardo da Vinci und Michelangelo, tätig in Florenz, 1518/19 in Fontainebleau. In seinen Bildern ist das Bemühen um groß angelegte Kompositionen verwirklicht. In der atmosphärischen Raumwiedergabe und in der Tonigkeit seiner Farben erweist sich Andrea als einer der bedeutendsten Koloristen der Florentiner Renaissance. Seit etwa 1520 machen sich in seinen Werken manieristische Züge bemerkbar. Zu seinen Schülern zählen Rosso Fiorentino und J. da Pontormo.

Werke: Verkündigung (um 1512, Florenz, Palazzo Pitti; gemeinsam mit Franciabigio); Fresken mit Szenen aus dem Leben Johannes' des Täufers (1514-26; Florenz, Chiostro dello Scalzo); »Harpẏien«-Madonna (1517, Florenz, Uffizien).Disput über die Dreifaltigkeit (1517/18, ebenda); Madonna del Sacco (1525; Florenz, Santissima Annunziata, Kreuzgang);

Literatur:

J. Shearman: A. del Sarto, 2 Bde. (Oxford 1965).

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