Mariotto Albertinelli

Mariotto Albertinelli, actually Mariotto di Biagio di Bindo Albertinelli, Biagio di Bindo name variant Albertinell ( born October 13, 1474 Florence, † November 5, 1515 ) was an Italian painter.

Life

Mariotto Albertinelli was a son of Biagio di Bindo gold racket Albertinelli. He received his training in the workshop of the painter Cosimo Rosselli. He must have proven to be quite talented, as Vasari reported that Albertinelli recorded in the gardens of the Medici antiquities and beyond personally Alfonsina Orsini, wife of Piero II de ' Medici, was working. During his apprenticeship he learned Baccio della Porta know, the later Fra Bartolommeo should call themselves. The two young painters became friends and harmonized from an artistic point of view so well together that they stayed together after the completion of the teaching and around 1494 established a joint workshop in the house of Baccio's father. In subsequent years, their work was so closely connected that many of the resulting works to 1500 can not be clearly assigned today and be assigned in their attribution alternately Albertinelli or Baccio. Show works such as the 1500 by Baccio began and in 1501 completed by Albertinelli fresco The Last Judgement for Santa Maria Nuova in Florence that can hardly be the proportions of the two painters to the image differ from each other, which is considered by the research as evidence that to Albertinelli understood perfectly adapt to the style of his friend. Based on this fact, coupled with the fact that Baccio is considered the more talented painter, there is now a general agreement that this is to be regarded as the head of the partnership, which was responsible for both the picture compositions as well as for the style. A testament to the artistic dominance Baccio are some works Alberti Ellis, in which he deliberately tried to make off from the style of his partner. These independent works show both significant influences by the painters Filippino Lippi, Piero di Cosimo and Pietro Perugino also echoes of the early Netherlandish painting, especially to artists such as Hugo van der Goes, and Hans Memling, as well as to the ancient idiom of the Italian Trecento.

In 1500, broke the partnership between the two painters, since Baccio, who was a follower of Savonarola preacher of repentance, decided to join the Dominican Order, and thus to renounce the painting. There he took the name Fra Bartolomeo. The unfinished Last Judgment was continued by Albertinelli and completed in March of the following year.

Albertinelli led the workshop continued alone and painted around 1503 with the now preserved in the Uffizi Gallery in Florence Visitation his best-known independent work.

In 1505 Albertinelli married the wine merchant 's daughter Antonia Ugolini. In 1506 he was officially declared by his father for an adult and guardian of Fra Bartolomeo's brother Piero della Porta ordered that he should be trained as a painter. 1509 he joined under the auspices of the convent of San Marco in Florence, as an equal partner again with Fra Bartolomeo together, who had now taken the painting again; both founded a new workshop. As a studio character they chose it a cross with two entwined rings. In the same year led a joint trip the two men to Lucca, where they set up a painted for the San Martino Cathedral altarpiece. It again developed a fruitful collaboration in which Fra Bartolomeo again as the creative head of the partnership can be considered.

Because evil slander Albertinelli the painting was in 1512 and opened on short notice, using his father, a small tavern in Florence. Then, the joint partnership with Fra Bartolomeo was declared on January 5, 1513 officially ended.

Soon after Albertinelli was the occupation of innkeeper again and went to Rome and Viterbo, where he again began to paint. There he fell ill, according to Vasari, heavy, and was carried back in a basket to Florence, where he died shortly after his arrival on November 5, 1515. His last, started in Viterbo image, a Coronation of the Virgin, he left unfinished. It was only completed in 1542 by Fra Paolino da Pistoia.

Albertinelli has left a rich work. In addition to representative altarpieces he painted mainly small devotional pictures for various private clients. In addition, numerous Albertinelli assigned drawings have been preserved.

Alberti Ellis position in art history

Albertinelli applicable in today's research as well gifted painter who, however, under the overpowering influence Fra Bartolomeo, hardly able to establish itself as an independent master. He appeared at a time when the art of the High Renaissance in Florence established itself. He ordered the new art point of view, partly under and sat quite consistent trends in the representation of monumental architecture and celestial phenomena. At the same time he had a preference for traditional forms of representation that opposed the perfection the High Renaissance, and so in the execution does not always work flawlessly with it.

Albertinelli formed from several painters, including among others, Jacopo da Pontormo belonged.

Works

  • Athens, National Gallery
  • Bergamo, Accademia Carrara
  • Berlin, Gemäldegalerie
  • Formerly Berlin, Kaiser- Friedrich- Museum
  • Besançon, Cathedrale St. Jean
  • Cambridge, Fitzwilliam Museum.
  • Cambridge, Harvard University Art Museums, Fogg Art Museum
  • Chartres, Musée des Beaux -Arts
  • Columbia Museum of Art
  • Detroit Institute of Art
  • Florence, Certosa di Val d' Ema
  • Florence, Galleria della Accademia
  • Florence, Galleria degli Uffizi
  • Florence, Museo S. Marco (formerly Ospedale di Santa Maria Nuova )
  • Florence, Palazzo Pitti
  • Geneva, Musée d' art et d' histoire
  • Genoa, Collezione Basevi - Gambarana
  • Yorkshire, Harewood House
  • Lewisburg, Bucknell University Art Gallery
  • London, Courtauld Institute Galleries
  • Longniddry, Earl of Wemyss
  • Los Angeles Country Museum of Art
  • Lucca, Museo di Villa Guinigi
  • Milan, Museo Poldi Pezzoli -
  • Munich, Alte Pinakothek
  • New York, Metropolitan Museum of Art
  • Paris, Musée National du Louvre
  • Pisa, Chiesa di Santa Caterina d' Alessandria
  • Galleria Borghese, Rome
  • St. Petersburg, Hermitage Museum
  • Stuttgart State Gallery
  • Venice, Seminario Patriarcale, Pinacoteca Manfrediniana
  • Viterbo, SS Andrea e Giovanni Battista
  • Volognano, Chiesa di S. Michele
  • Volterra, Duomo
  • West Palm Beach, Norton Museum of Art
  • Zagreb Strossmayer Gallery
  • Whereabouts unknown
Italy Giorgio Vasari Girolamo Savonarola Lucca Cathedral Integrated Authority File
41366
de