(May 3, 1535 - September 22, 1607) was an Italian portrait painter of the late Mannerist Florentine school. Born in Florence, in 1540, after the death of his father, he was brought up and trained in art by a close friend, often referred to as his 'uncle', the mannerist painter Agnolo Bronzino, whose name he sometimes assumed in his pictures. In some ways, Allori is the last of the line of prominent Florentine painters, of generally undiluted Tuscan artistic heritage: Andrea del Sarto worked with Fra Bartolomeo (as well as Leonardo Da Vinci), Pontormo briefly worked under Andrea, and trained Bronzino, who trained Allori. Subsequent generations in the city would be strongly influenced by the tide of Baroque styles pre-eminent in other parts of Italy.  Related Paintings of Alessandro Allori :. | Venus disarming Cupid. | Venus disarming Cupid | Portrait of Eleonora | Portrait of Bianca Cappello | Portrat Isabella de Medicis |
Related Artists:
Friedrich Johann Overbeck
1789-1869 German German religious painter. Expelled from the Vienna Academy because of his opposition to its classicism, he went to Rome and with Peter von Cornelius, Veit, Schadow-Godenhaus, and others, formed the group known as the Nazarenes. His first real successes were his frescoes for the Casa Bartholdy (now in Berlin) and for the Villa Massimo. Among his notable paintings are Christ Entry into Jerusalem and Christ Agony in the Garden. Overbeck sought to make his art serve religion. His influence was due more to the purity of his doctrine than to the power of his work, which is often lacking in pictorial appeal and in color.
Claude Lorrain
French 1600-1682 Claude Lorrain Galleries In Rome, not until the mid-17th century were landscapes deemed fit for serious painting. Northern Europeans, such as the Germans Elsheimer and Brill, had made such views pre-eminent in some of their paintings (as well as Da Vinci in his private drawings or Baldassarre Peruzzi in his decorative frescoes of vedute); but not until Annibale Carracci and his pupil Domenichino do we see landscape become the focus of a canvas by a major Italian artist. Even with the latter two, as with Lorrain, the stated themes of the paintings were mythic or religious. Landscape as a subject was distinctly unclassical and secular. The former quality was not consonant with Renaissance art, which boasted its rivalry with the work of the ancients. The second quality had less public patronage in Counter-Reformation Rome, which prized subjects worthy of "high painting," typically religious or mythic scenes. Pure landscape, like pure still-life or genre painting, reflected an aesthetic viewpoint regarded as lacking in moral seriousness. Rome, the theological and philosophical center of 17th century Italian art, was not quite ready for such a break with tradition. In this matter of the importance of landscape, Lorrain was prescient. Living in a pre-Romantic era, he did not depict those uninhabited panoramas that were to be esteemed in later centuries, such as with Salvatore Rosa. He painted a pastoral world of fields and valleys not distant from castles and towns. If the ocean horizon is represented, it is from the setting of a busy port. Perhaps to feed the public need for paintings with noble themes, his pictures include demigods, heroes and saints, even though his abundant drawings and sketchbooks prove that he was more interested in scenography. Lorrain was described as kind to his pupils and hard-working; keenly observant, but an unlettered man until his death. The painter Joachim von Sandrart is an authority for Claude's life (Academia Artis Pictoriae, 1683); Baldinucci, who obtained information from some of Claude's immediate survivors, relates various incidents to a different effect (Notizie dei professoni del disegno). John Constable described Claude Lorrain as "the most perfect landscape painter the world ever saw", and declared that in Claude??s landscape "all is lovely ?C all amiable ?C all is amenity and repose; the calm sunshine of the heart"
Bicci di Lorenzo
Italian, 1373-1452,was an Italian painter and sculptor, active in Florence. He was born in Florence in 1373, the son of the painter, Lorenzo di Bicci, whose workshop he joined. He married in 1418, and in 1424 was registered in the Guild of Painters at Florence. His son, Neri di Bicci was also a painter and took over the family workshop. Bicci di Lorenzo died in Florence in 1452 and was buried in Santa Maria del Carmine. Following early work - largely frescoes - in collaboration with his father, he received a number of important commissions, including, according to Vasari, from the Medici for a cycle of frescoes of Illustrious Men for the Palazzo Medici. For the Opera del Duomo, he painted frescoes of the apostles. And he painted a Saints Cosmas and Damian and frescoes representing the dedication of the church itself for Sant'Egidio in the hospital of Santa Maria Nuova. His best paintings are now thought to be the Madonna in Trono now in the National Gallery at Parma, the Three stories of St Nicholas triptych in the cathedral of Fiesole, and a Nativity in the church of San Giovannino dei Cavalieri in Florence.