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Франческо Сальвиати. Картины сальвиати франческо

Сальвиати Франческо Картины биография Salviati Francesco

Сальвиати Франческо (Salviati Francesco) (1510-1563) Флорентийский живописец-маньерист, близкий друг Джорджо Вазари. Один из виднейших представителей тосканско-римского маньеризма. Родился во Флоренции в 1510 году. Собственно, настоящая фамилия Франческо де Росси (Francesco de Rossi). В художественной среде имел прозвище Чеккино, иногда художника величали Чеккино дель Сальвиати (Cecchino del Salviati).

Учился у Буджардини, Бандинелли и Андреа дель Сарто; испытал влияние Микеланджело, Понтормо, венецианских мастеров. Франческо Сальвиати наряду с Бронзино считался крупнейшим портретистом Флоренции своего времени и одновременно одним из ведущих мастеров монументальной живописи. Однако в противоположность Бронзино, который был придворным по призванию, Сальвиати, видимо, тяготился атмосферой, царившей при дворах: недаром его близкий друг Вазари рассказывает о резкости и неуживчивости его характера, бесконечных переездах из Флоренции в Рим и обратно (кроме того, около 1540 года он побывал в Венеции, а в 1554 году — во Франции), конфликтах с заказчиками. Известная независимость от дворов определяет характер его портретов.

Франческо Сальвиати был большим поклонником искусства Микеланжело и в картине «Аллегория милосердия» использовал характерные приемы его тондо Мадонна Дони - переплетенные фигуры, рельефные объемы, игру света на поверхности формы. Хотя Франческо Сальвиати достигает здесь поразительной скульптурности, его картина слишком искусственна и надумана по сравнению с шедевром Микелланжело. Тем не менее эта работа очень показательна для флорентийского искусства своего времени, находившегося как бы в тени гениальной живописи предшествующего поколения. Франческо Сальвиати, испытавший также влияние изящной и текучей манеры Пармиджанино, был одним из первых и наиболее убежденных сторонников римского маньеризма. Свою фамилию он заимствовал у одного из первых своих покровителей, кардинала Сальвиати.

Сальвиати - портретист является антиподом Бронзино. Если последний стремится запечатлеть официальный, парадный облик аристократа, спрятать чувства и мысли модели за маской холодного равнодушия, то Сальвиати нередко делает своим героем рядового современника, полного ощущения неразрешимости жизненных противоречий, внутренней неуверенности. Его образы не обладают ренессансной Значительностью и яркостью, но им свойственны психологическая насыщенность и жизненная острота. В противоположность парадным портретам Бронзино портреты Сальвиати (созданные в основном в 1530—1540-е годы) носят более частный, интимный характер. Лишь немногие из них: так называемый «Поджо Браччолини» (вероятно, автопортрет; Рим, галерея Колонна), «Кардинал Червини-Спанокки», который ранее приписывался Понтормо (Рим, галерея Боргезе), портрет скульптора (Вена) — выдают стремление к торжественности и репрезентативности.

Но в ряде портретов Сальвиати — «Неизвестный с письмом» (Уффици), «Неизвестный» (Рим, галерея Корсини), «Мужской портрет» (Москва, Государственный музей изобразительных искусств им. А. С. Пушкина) — его герои предстают перед нами на нейтральном фоне в почти случайной, мгновенно схваченной позе, как бы оставшись наедине с собой погруженными в меланхолическую задумчивость; иногда они рассеянно разворачивают письмо или сжимают в руках перо. Строгость, почти монохромность колорита, в котором серые или оливковые тона фона сочетаются с темными тонами одежды, острая, беспокойная изломанность резко отчеканенной линии силуэта подчеркивают интенсивность и противоречивую сложность внутренней жизни, тонкую психологическую выразительность болезненно-задумчивых лиц.

Иногда Сальвиати достигает такой необычной остроты и конкретности трактовки образа рядового современника, что его портреты могут найти аналогии только у художников венецианской террафермы. Так, портрет Андреа Бандини (Филадельфия, собрание Джонсон), в котором внутренняя утонченность, лихорадочное беспокойство сочетаются с бюргерской обыденностью облика, вызывает в памяти портреты Морони. Большая острота передачи внешнего облика, мгновенно схваченной ситуации и одновременно внутренний драматизм характеризуют и один из наиболее искренних и интимно-непосредственных портретов мастера — его поздний автопортрет (1550-е годы; Уффици).

Портреты Сальвиати убедительно свидетельствуют о неоднородности маньеризма, о том, что в искусстве феодально-католических центров рядом с официальным направлением сохраняются реалистические тенденции, частичный интерес к рядовому современнику, к внутреннему миру человека. Позднее, во второй половине 16 века, эти тенденции вызывают сложение жанра интимно-психологического автопортрета. Но в целом эти устремления постоянно подавлялись господствующими принципами придворной культуры, не могли найти почвы для широкого развития.

С 1530 года Франческо де Росси состоял на службе у римского кардинала Сальвиати, фамилию которого принял. Во второй четверти 16 столетия Франческо Сальвиати и Джордже Вазари были крупнейшими мастерами монументальной живописи во Флоренции. Фрески Сальвиати обнаруживают более тесную связь с господствующими тенденциями маньеристического искусства, чем его портреты. Лучшие из них — цикл «История Камилла» в Зале аудиенций Палаццо Веккьо (начатый в 1544 году), фрески в Сан Марчелло дель Корсо в Риме (конец 1540-х годов) — выгодно отличаются от других монументальных росписей маньеристов своей изысканной декоративностью. Но в более поздних его работах, особенно в посвященном папе Павлу III цикле в палаццо Фарнезе (1553 — 1554), ставшем образцом для всех римских маньеристов, появляется тяжеловесная пышность и риторичность. Скончался Сальвиати в Риме в 1563 году.

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Франческо Сальвиати - WikiVisually

1. Флоренция – Florence is the capital city of the Italian region of Tuscany and of the Metropolitan City of Florence. It is the most populous city in Tuscany, with 383,083 inhabitants, Florence was a centre of medieval European trade and finance and one of the wealthiest cities of the time. It is considered the birthplace of the Renaissance, and has called the Athens of the Middle Ages. A turbulent political history includes periods of rule by the powerful Medici family, from 1865 to 1871 the city was the capital of the recently established Kingdom of Italy. The Historic Centre of Florence attracts 13 million tourists each year and it was declared a World Heritage Site by UNESCO in 1982. The city is noted for its culture, Renaissance art and architecture, the city also contains numerous museums and art galleries, such as the Uffizi Gallery and the Palazzo Pitti, and still exerts an influence in the fields of art, culture and politics. Due to Florences artistic and architectural heritage, it has been ranked by Forbes as one of the most beautiful cities in the world, in 2008, the city had the 17th highest average income in Italy. Florence originated as a Roman city, and later, after a period as a flourishing trading and banking medieval commune. According to the Encyclopædia Britannica, it was politically, economically, and culturally one of the most important cities in Europe, the language spoken in the city during the 14th century was, and still is, accepted as the Italian language. Starting from the late Middle Ages, Florentine money—in the form of the gold florin—financed the development of all over Europe, from Britain to Bruges, to Lyon. Florentine bankers financed the English kings during the Hundred Years War and they similarly financed the papacy, including the construction of their provisional capital of Avignon and, after their return to Rome, the reconstruction and Renaissance embellishment of Rome. Florence was home to the Medici, one of European historys most important noble families, Lorenzo de Medici was considered a political and cultural mastermind of Italy in the late 15th century. Two members of the family were popes in the early 16th century, Leo X, catherine de Medici married king Henry II of France and, after his death in 1559, reigned as regent in France. Marie de Medici married Henry IV of France and gave birth to the future king Louis XIII, the Medici reigned as Grand Dukes of Tuscany, starting with Cosimo I de Medici in 1569 and ending with the death of Gian Gastone de Medici in 1737. The Etruscans initially formed in 200 BC the small settlement of Fiesole and it was built in the style of an army camp with the main streets, the cardo and the decumanus, intersecting at the present Piazza della Repubblica. Situated along the Via Cassia, the route between Rome and the north, and within the fertile valley of the Arno, the settlement quickly became an important commercial centre. Peace returned under Lombard rule in the 6th century, Florence was conquered by Charlemagne in 774 and became part of the Duchy of Tuscany, with Lucca as capital. The population began to again and commerce prospered

2. Рим – Rome is a special comune and the capital of Italy. Rome also serves as the capital of the Lazio region, with 2,873,598 residents in 1,285 km2, it is also the countrys largest and most populated comune and fourth-most populous city in the European Union by population within city limits. It is the center of the Metropolitan City of Rome, which has a population of 4.3 million residents, the city is located in the central-western portion of the Italian Peninsula, within Lazio, along the shores of the Tiber. Romes history spans more than 2,500 years, while Roman mythology dates the founding of Rome at only around 753 BC, the site has been inhabited for much longer, making it one of the oldest continuously occupied sites in Europe. The citys early population originated from a mix of Latins, Etruscans and it was first called The Eternal City by the Roman poet Tibullus in the 1st century BC, and the expression was also taken up by Ovid, Virgil, and Livy. Rome is also called the Caput Mundi, due to that, Rome became first one of the major centres of the Italian Renaissance, and then the birthplace of both the Baroque style and Neoclassicism. Famous artists, painters, sculptors and architects made Rome the centre of their activity, in 1871 Rome became the capital of the Kingdom of Italy, and in 1946 that of the Italian Republic. Rome has the status of a global city, Rome ranked in 2014 as the 14th-most-visited city in the world, 3rd most visited in the European Union, and the most popular tourist attraction in Italy. Its historic centre is listed by UNESCO as a World Heritage Site, monuments and museums such as the Vatican Museums and the Colosseum are among the worlds most visited tourist destinations with both locations receiving millions of tourists a year. Rome hosted the 1960 Summer Olympics and is the seat of United Nations Food, however, it is a possibility that the name Romulus was actually derived from Rome itself. As early as the 4th century, there have been alternate theories proposed on the origin of the name Roma. There is archaeological evidence of occupation of the Rome area from approximately 14,000 years ago. Evidence of stone tools, pottery and stone weapons attest to about 10,000 years of human presence, several excavations support the view that Rome grew from pastoral settlements on the Palatine Hill built above the area of the future Roman Forum. Between the end of the age and the beginning of the Iron age. However, none of them had yet an urban quality, nowadays, there is a wide consensus that the city was gradually born through the aggregation of several villages around the largest one, placed above the Palatine. All these happenings, which according to the excavations took place more or less around the mid of the 8th century BC. Despite recent excavations at the Palatine hill, the view that Rome has been indeed founded with an act of will as the legend suggests in the middle of the 8th century BC remains a fringe hypothesis. Traditional stories handed down by the ancient Romans themselves explain the earliest history of their city in terms of legend and myth

3. Флорентийское герцогство – The Duchy of Florence was an Italian principality that was centred on the city of Florence, in Tuscany, Italy. The duchy was founded after Emperor Charles V restored Medici rule to Florence in 1530, Pope Clement VII, himself a Medici, appointed his relative Alessandro de Medici as Duke of the Florentine Republic, thereby transforming the Republic of Florence into a hereditary monarchy. The second Duke, Cosimo I, established a strong Florentine navy and expanded his territory, purchasing Elba, in 1569, the Pope declared Cosimo grand duke of Tuscany. The Medici ruled the Grand Duchy of Tuscany until 1737, Florence had been under informal Medici control since 1434. During the War of the League of Cognac, the Florentines rebelled against the Medici, then represented by Ippolito de Medici, and restored the freedom of their republic. Following the Republics surrender in the Siege of Florence, Charles V, on 12 August 1530, the Emperor created the Medici hereditary rulers of the Republic of Florence. The title duke of Florence was chosen because it would bolster Medici power in the region, in April 1532, the Pope convinced the Balía, Florences ruling commission, to draw up a new constitution, which formally created a hereditary monarchy. The Senate, composed of men, chosen by the Balía, was vested with the prerogative of determining Florences financial, security. Additionally, the appointed the commissions of war and public security. The Council of Two Hundred was a court, membership was for life. Even after Alessandros accession, Imperial troops remained stationed in Florence, in 1535, several prominent Florentine families, including the Pazzi dispatched a delegation under Ippolito de Medici, asking Charles V to depose Alessandro. Much to their dismay, the Emperor rejected their appeal, Charles had no intention of deposing Alessandro, who was married to Charles daughter Margaret of Parma. Alessandro continued to rule Florence for another two years until he was murdered on January 1,1537 by his distant relative Lorenzino de Medici, as Alessandro left no legitimate issue, the question of succession was open. Florentine authorities selected Cosimo I At the news of this, the exiled Strozzi family invaded and tried to depose Cosimo, Cosimo completely overhauled the bureaucracy and administration of Florence. In 1542, the Imperial troops stationed in Florence by Charles V were withdrawn, in 1548, Cosimo purchased Elba from the Republic of Genoa, and based his new developing navy there. Cosimo founded the city of Livorno and allowed the city’s inhabitants to enjoy freedom of religion. In alliance with Spain and the Holy Roman Empire, Cosimo defeated the Republic of Siena, on April 17,1555, Florence and Spain occupied the territory of Siena, which, in July 1557 Philip II of Spain bestowed on Cosimo as a hereditary fiefdom. The ducal family moved into the Palazzo Pitti in 1560, Cosimo commissioned the architect Vasari to build the Uffizi, as offices for the Medici bank, continuing the Medici tradition of patronage of the arts

4. Портрет – A portrait is a painting, photograph, sculpture, or other artistic representation of a person, in which the face and its expression is predominant. The intent is to display the likeness, personality, and even the mood of the person, for this reason, in photography a portrait is generally not a snapshot, but a composed image of a person in a still position. A portrait often shows a person looking directly at the painter or photographer, nonetheless, many subjects, such as Akhenaten and some other Egyptian pharaohs, can be recognised by their distinctive features. The 28 surviving rather small statues of Gudea, ruler of Lagash in Sumeria between c.2144 -2124 BC, show a consistent appearance with some individuality. Some of the earliest surviving painted portraits of people who were not rulers are the Greco-Roman funeral portraits that survived in the dry climate of Egypts Fayum district. These are almost the only paintings from the world that have survived, apart from frescos, though many sculptures. Although the appearance of the figures differs considerably, they are considerably idealized, the art of the portrait flourished in Ancient Greek and especially Roman sculpture, where sitters demanded individualized and realistic portraits, even unflattering ones. During the 4th century, the portrait began to retreat in favor of a symbol of what that person looked like. In the Europe of the Early Middle Ages representations of individuals are mostly generalized, true portraits of the outward appearance of individuals re-emerged in the late Middle Ages, in tomb monuments, donor portraits, miniatures in illuminated manuscripts and then panel paintings. Moche culture of Peru was one of the few ancient civilizations which produced portraits and these works accurately represent anatomical features in great detail. The individuals portrayed would have been recognizable without the need for other symbols or a reference to their names. The individuals portrayed were members of the elite, priests, warriors. They were represented during several stages of their lives, the faces of gods were also depicted. To date, no portraits of women have been found, there is particular emphasis on the representation of the details of headdresses, hairstyles, body adornment and face painting. One of the portraits in the Western world is Leonardo da Vincis painting titled Mona Lisa. What has been claimed as the worlds oldest known portrait was found in 2006 in the Vilhonneur grotto near Angoulême and is thought to be 27,000 years old. Profile view, full view, and three-quarter view, are three common designations for portraits, each referring to a particular orientation of the head of the individual depicted. Such terms would tend to have greater applicability to two-dimensional artwork such as photography, in the case of three-dimensional artwork, the viewer can usually alter their orientation to the artwork by moving around it

5. Маньеризм – Mannerism is a style in European art that emerged in the later years of the Italian High Renaissance around 1520, lasting until about 1580 in Italy, when the Baroque style began to replace it. Northern Mannerism continued into the early 17th century, stylistically, Mannerism encompasses a variety of approaches influenced by, and reacting to, the harmonious ideals associated with artists such as Leonardo da Vinci, Raphael, and early Michelangelo. Where High Renaissance art emphasizes proportion, balance, and ideal beauty, Mannerism exaggerates such qualities, Mannerism is notable for its intellectual sophistication as well as its artificial qualities. Mannerism favors compositional tension and instability rather than the balance and clarity of earlier Renaissance painting, Mannerism in literature and music is notable for its highly florid style and intellectual sophistication. The definition of Mannerism and the phases within it continue to be a subject of debate among art historians, for example, some scholars have applied the label to certain early modern forms of literature and music of the 16th and 17th centuries. The term is used to refer to some late Gothic painters working in northern Europe from about 1500 to 1530. Mannerism also has been applied by analogy to the Silver Age of Latin literature, the word mannerism derives from the Italian maniera, meaning style or manner. Like the English word style, maniera can either indicate a type of style or indicate an absolute that needs no qualification. Vasari was also a Mannerist artist, and he described the period in which he worked as la maniera moderna, james V. Mirollo describes how bella maniera poets attempted to surpass in virtuosity the sonnets of Petrarch. This notion of bella maniera suggests that artists thus inspired looked to copying and bettering their predecessors, in essence, bella maniera utilized the best from a number of source materials, synthesizing it into something new. As a stylistic label, Mannerism is not easily defined, “High Renaissance” connoted a period distinguished by harmony, grandeur and the revival of classical antiquity. The term Mannerist was redefined in 1967 by John Shearman following the exhibition of Mannerist paintings organised by Fritz Grossmann at Manchester City Art Gallery in 1965. The label “Mannerism” was used during the 16th century to comment on social behaviour, however, for later writers, such as the 17th-century Gian Pietro Bellori, la maniera was a derogatory term for the perceived decline of art after Raphael, especially in the 1530s and 1540s. From the late 19th century on, art historians have used the term to describe art that follows Renaissance classicism. By the end of the High Renaissance, young artists experienced a crisis, no more difficulties, technical or otherwise, remained to be solved. The young artists needed to find a new goal, and they sought new approaches, at this point Mannerism started to emerge. The new style developed between 1510 and 1520 either in Florence, or in Rome, or in both cities simultaneously and this period has been described as a natural extension of the art of Andrea del Sarto, Michelangelo, and Raphael. Michelangelo from an early age had developed a style of his own, one of the qualities most admired by his contemporaries was his terribilità, a sense of awe-inspiring grandeur, and subsequent artists attempted to imitate it

6. Андреа дель Сарто – Andrea del Sarto was an Italian painter from Florence, whose career flourished during the High Renaissance and early Mannerism. Though 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. Andrea del Sarto was born Andrea dAgnolo di Francesco di Luca di Paolo del Migliore in Florence on 16 July 1486, since his father, Agnolo, was a tailor, he became known as del Sarto. Since 1677 some have attributed the surname Vannucchi with little documentation, by 1494 Andrea was apprenticed to a goldsmith, and then to a woodcarver and painter named Gian Barile, with whom he remained until 1498. According to his late biographer Vasari, he apprenticed to Piero di Cosimo. Andrea and an older friend Franciabigio decided to open a joint studio at a lodging together in the Piazza del Grano, the first product of their partnership may have been the Baptism of Christ for the Florentine Compagnia dello Scalzo, the beginning of a monochrome fresco series. By the time the partnership was dissolved, Sartos style bore the stamp of individuality, from 1509 to 1514 the Servite Order employed Del Sarto, Franciabigio and Andrea Feltrini in a programme of frescoes at Basilica della Santissima Annunziata di Firenze. Sarto completed seven frescoes in the forecourt or atrium before the Servite church, five of which illustrated the Life and miracles of Filippo Benizzi, a Servite saint who died in 1285. He executed them rapidly, depicting the saint healing a leper through the gift of his undertunic, predicting the bad end of some blasphemers, and restoring a girl possessed with a devil. The two final frescoes of the series depicted the healing of a child at the bed of Filippo Benizzi. All five frescoes were completed before the close of 1510, the Servites convinced him to do two more frescoes in the forecourt, though of a different subject matter, a Procession of the Magi finished in 1511 and a Nativity of the Virgin. These paintings met with respect, the correctness of the contours being particularly admired, towards 1512 he painted an Annunciation in the monastery of S. Gallo and a Marriage of Saint Catherine. By 1514 Andrea had finished his last two frescoes, including his masterpiece, the Birth of the Virgin, which fuses the influence of Leonardo, Ghirlandaio and Fra Bartolomeo. By November 1515 he had finished at the Scalzo the Allegory of Justice and the Baptist preaching in the desert, followed in 1517 by John Baptizing, and other subjects. Before the end of 1516, a Pietà of Del Sartos composition and this led to an invitation from François I, in 1518, and he journeyed to Paris in June of that year, along with his pupil Andrea Squarzzella, leaving his wife, Lucrezia, in Florence. According to Giorgio Vasari, Andreas pupil and biographer, Lucrezia wrote to Andrea, the King assented, but only on the understanding that his absence from France was to be short. He then entrusted Andrea with a sum of money to be expended in purchasing works of art for the French Court. By Vasaris account, Andrea took the money and used it to buy himself a house in Florence, thus ruining his reputation, the story inspired Robert Brownings poem-monologue Andrea del Sarto Called the Faultless Painter, but is now believed by some historians to be apocryphal

7. Венеция – Venice is a city in northeastern Italy and the capital of the Veneto region. It is situated across a group of 118 small islands that are separated by canals and these are located in the shallow Venetian Lagoon, an enclosed bay that lies between the mouths of the Po and the Piave Rivers. Parts of Venice are renowned for the beauty of their settings, their architecture, the lagoon and a part of the city are listed as a World Heritage Site. In 2014,264,579 people resided in Comune di Venezia, together with Padua and Treviso, the city is included in the Padua-Treviso-Venice Metropolitan Area, with a total population of 2.6 million. PATREVE is a metropolitan area without any degree of autonomy. The name is derived from the ancient Veneti people who inhabited the region by the 10th century BC, the city was historically the capital of the Republic of Venice. Venice has been known as the La Dominante, Serenissima, Queen of the Adriatic, City of Water, City of Masks, City of Bridges, The Floating City, and City of Canals. The City State of Venice is considered to have been the first real international financial center which gradually emerged from the 9th century to its peak in the 14th century and this made Venice a wealthy city throughout most of its history. It is also known for its several important artistic movements, especially the Renaissance period, Venice has played an important role in the history of symphonic and operatic music, and it is the birthplace of Antonio Vivaldi. Venice has been ranked the most beautiful city in the world as of 2016, the name Venetia, however, derives from the Roman name for the people known as the Veneti, and called by the Greeks Eneti. The meaning of the word is uncertain, although there are other Indo-European tribes with similar-sounding names, such as the Celtic Veneti, Baltic Veneti, and the Slavic Wends. Linguists suggest that the name is based on an Indo-European root *wen, so that *wenetoi would mean beloved, lovable, a connection with the Latin word venetus, meaning the color sea-blue, is also possible. The alternative obsolete form is Vinegia, some late Roman sources reveal the existence of fishermen on the islands in the original marshy lagoons. They were referred to as incolae lacunae, the traditional founding is identified with the dedication of the first church, that of San Giacomo on the islet of Rialto — said to have taken place at the stroke of noon on 25 March 421. Beginning as early as AD166 to 168, the Quadi and Marcomanni destroyed the center in the area. The Roman defences were again overthrown in the early 5th century by the Visigoths and, some 50 years later, New ports were built, including those at Malamocco and Torcello in the Venetian lagoon. The tribuni maiores, the earliest central standing governing committee of the islands in the Lagoon, the traditional first doge of Venice, Paolo Lucio Anafesto, was actually Exarch Paul, and his successor, Marcello Tegalliano, was Pauls magister militum. In 726 the soldiers and citizens of the Exarchate rose in a rebellion over the controversy at the urging of Pope Gregory II

8. Фонтенбло – Fontainebleau is a commune in the metropolitan area of Paris, France. It is located 55.5 kilometres south-southeast of the centre of Paris, Fontainebleau is a sub-prefecture of the Seine-et-Marne department, and it is the seat of the arrondissement of Fontainebleau. The commune has the largest land area in the Île-de-France region, Fontainebleau, together with the neighbouring commune of Avon and three other smaller communes, form an urban area of 39,713 inhabitants. This urban area is a satellite of Paris, inhabitants of Fontainebleau are called Bellifontains. Fontainebleau has been recorded in different Latinised forms, such as, Fons Bleaudi, Fons Bliaudi, Fons Blaadi in the 12th and 13th centuries and it became Fons Bellaqueus in the 17th century, which gave rise to the name of the inhabitants as Bellifontains. The name originates as a composite of two words, Fontaine– meaning spring, or fountainhead, followed by a person’s Germanic name Blizwald. This hamlet was endowed with a hunting lodge and a chapel by Louis VII in the middle of the twelfth century. A century later, Louis IX, also called Saint Louis, who held Fontainebleau in high esteem and referred to it as his wilderness, had a country house, philip the Fair was born there in 1268 and died there in 1314. In all, thirty-four sovereigns, from Louis VI, the Fat, to Napoleon III, the connection between the town of Fontainebleau and the French monarchy was reinforced with the transformation of the royal country house into a true royal palace, the Palace of Fontainebleau. On 18 October 1685, Louis XIV signed the Edict of Fontainebleau there, the result was that a large number of Protestants were forced to convert to the Catholic faith, killed, or forced into exile, mainly in the Low Countries, Prussia and in England. The 1762 Treaty of Fontainebleau, an agreement between France and Spain concerning the Louisiana territory in North America, was concluded here. Also, preliminary negotiations, held before the 1763 Treaty of Paris was signed, during the French Revolution, Fontainebleau was temporarily renamed Fontaine-la-Montagne, meaning Fountain by the Mountain. On 20 June 1812, Pope Pius VII arrived at the château of Fontainebleau, after a transfer from Savona, accompanied by his personal physician. In poor health, the Pope was the prisoner of Napoleon, from June 1812 until 23 January 1814, the Pope never left his apartments. According to contemporary sources, the occasion was very moving, the 1814 Treaty of Fontainebleau stripped Napoleon of his powers and sent him into exile on Elba. Until the 19th century, Fontainebleau was a village and a suburb of Avon, later, it developed as an independent residential city. For the 1924 Summer Olympics, the town played host to the portion of the modern pentathlon event. This event took place near a golf course, Fontainebleau also hosted the general staff of the Allied Forces in Central Europe and the land forces command, the air forces command was located nearby at Camp Guynemer

9. Палаццо Веккьо – The Palazzo Vecchio is the town hall of Florence, Italy. It overlooks the Piazza della Signoria with its copy of Michelangelos David statue as well as the gallery of statues in the adjacent Loggia dei Lanzi, the building acquired its current name when the Medici dukes residence was moved across the Arno to the Palazzo Pitti. The cubical building is made of rusticated stonework, with two rows of two-lighted Gothic windows, each with a trefoil arch. In the 15th century, Michelozzo Michelozzi added decorative bas-reliefs of the cross, the building is crowned with projecting crenellated battlement, supported by small arches and corbels. Under the arches are a series of nine painted coats of arms of the Florentine republic. Some of these arches can be used as embrasures for dropping heated liquids or rocks on invaders, the solid, massive building is enhanced by the simple tower with its clock. This tower contains two cells, that, at different times, imprisoned Cosimo de Medici and Girolamo Savonarola. The tower is named after its designer Torre dArnolfo, Duke Cosimo I de Medici moved his official seat from the Medici palazzo in via Larga to the Palazzo della Signoria in May 1540, signalling the security of Medici power in Florence. Cosimo commissioned Giorgio Vasari to build a walkway, the Vasari corridor, from the Palazzo Vecchio, through the Uffizi. Cosimo I also moved the seat of government to the Uffizi, the palace gained new importance as the seat of united Italys provisional government from 1865–71, at a moment when Florence had become the temporary capital of the Kingdom of Italy. The tower currently has three bells, the oldest was cast in the 13th century, above the front entrance door, there is a notable ornamental marble frontispiece, dating from 1528. In the middle, flanked by two gilded lions, is the Monogram of Christ, surrounded by a glory, above the text, Rex Regum et Dominus Dominantium (translation, King of Kings and Lord of Lords. This text dates from 1851 and does not replace an earlier text by Savonarola as mentioned in guidebooks, between 1529 and 1851 they were concealed behind a large shield with the grand-ducal coat of arms. Michelangelos David also stood at the entrance from its completion in 1504 to 1873, a replica erected in 1910 now stands in its place, flanked by Baccio Bandinellis Hercules and Cacus. The first courtyard was designed in 1453 by Michelozzo, in the lunettes, high around the courtyard, are crests of the church and city guilds. In the center, the fountain is by Battista del Tadda. The Putto with Dolphin on top of the basin is a copy of the original by Andrea del Verrocchio and this small statue was originally placed in the garden of the Villa Medici at Careggi. The water, flowing through the nose of the dolphin, is brought here by pipes from the Boboli Gardens, in the niche, in front of the fountain, stands Samson and Philistine by Pierino da Vinci

10. Марк Фурий Камилл – Marcus Furius Camillus was a Roman soldier and statesman of patrician descent. According to Livy and Plutarch, Camillus triumphed four times, was five times dictator, Camillus belonged to the lineage of the Furii Camilli, whose origin had been in the Latin city of Tusculum. Although this city had been an enemy of the Romans in the 490s BC, after both the Volsci and Aequi later began to wage war against Rome, Tusculum joined Rome. Soon, the Furii integrated into Roman society, accumulating a long series of magistrate offices, thus the Furii had become an important Roman family by the 450s. The father of Camillus was Lucius Furius Medullinus, a tribune of consular powers. Camillus had more than three brothers, the eldest one was Lucius junior, who was consul and tribune of consular powers. The Latin noun camillus denoted a child acolyte at religious rituals, during Camilluss infancy, his relative Quintus Furius Paculus was the Roman Pontifex Maximus. The military tribunes with consular authority or consular tribunes, were elected with consular power during the so-called Conflict of the Orders in the Roman Republic. Consular tribunes served in 444 BC and then continuously from 408 BC to 394 BC, the office was created, along with the magistracy of the censor, in order to give the plebeian order access to higher levels of government without having to reform the office of consul. At that time in Romes history, plebeians could not be elected to the highest magistracy of Consul, Camillus had been a noteworthy soldier in the wars with the Aequi and Volsci. Subsequently, Camillus was a military tribune, in 403 BC, he was appointed censor with Marcus Postumius Albinus Regillensis and, by means of extensive taxation, took action to solve financial problems resulting from incessant military campaigns. In 406 BC, Rome declared war against the rival Etrurian city of Veii, the city of Veii was powerful and was located on a well-fortified and elevated site. This required the Romans to commence a siege lasting several years, in 401 BC, as the war started to grow increasingly unpopular in Rome, Camillus was appointed consular tribune. He assumed command of the Roman army, and within a time he stormed two allies of Veii, Falerii and Capena, which resisted behind their walls. In 398 BC, Camillus received consular tribune powers and then looted Capena, when Rome suffered severe defeats in 396 BC, the tenth year of this war, the Romans resorted again to Camillus, who was named dictator for the first time. After defeating both Falerii and Capena at Nepete, Camillus commanded the final strike against Veii and he dug the soft ground below the walls and the Romans infiltrated through the citys sewage system effectively, defeating the enemy. Not interested in capitulation terms, but in Veiis complete destruction, for the battle, Camillus had invoked the protection of Mater Matuta extensively, and he looted the statue of Juno for Rome. Back in Rome, Camillus paraded on a quadriga, a chariot

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Сальвиати Франческо Википедия

Франческо Сальвиати (наст. имя Франческо де Росси, итал. Francesco Salviati; 1510—1563) — итальянский художник, представитель маньеризма.

Биография

Родился во Флоренции в семье ткача. Учился в мастерской у Андреа дель Сарто. В молодые годы пользовался покровительством кардинала Джованни Сальвиати, по приглашению которого в 1530 году прибывает в Рим. В 1538 году принимает заказ своего патрона на участие в росписи церкви Сан-Джованни Деколлато. Фреска «Встреча Марии и Елизаветы», выполненная им, несёт в себе черты влияния ватиканских росписей Рафаэля. Эта первая большая работа принесла художнику известность. В знак признательности принял фамилию своего покровителя. В 1539 году Сальвиати предпринял поездку в Венецию, в 1540-е годы живёт и работает преимущественно во Флоренции и Риме. В 1556—1557 годах художник посетил Фонтенбло, где его стиль снискал ему признание. Сальвиати был одним из самых выдающихся мастеров фрески своего времени. Его стиль изящен, а композиции, включающие множество фигур, сложны и тщательно выстроены. К числу лучших работ художника в этой области можно отнести роспись Зала аудиенций Палаццо Веккьо во Флоренции (1543—1544), посвящённую истории жизни римского полководца и диктатора Фурия Камилла и являющуюся аллегорией правления Козимо Медичи. Сальвиати был также прекрасным портретистом. Его работы в этом жанре отличаются точностью психологических характеристик модели и богатством цветовой палитры, напоминающей о живописной традиции Северной Италии. Художник умер в Риме в 1563 году.

Основные работы

Триумф Камилла. 1543—1545; Флоренция, Палаццо Веккьо
Милосердие. 1554—1558; Флоренция, Галерея Уффици Файл:Francesco Salviati 003.jpg
Мужской портрет. Ок. 1550—1555; Лос-Анджелес, Музей Пола Гетти Файл:Francesco Salviati --Portrait of a Young Man, c. 1550.jpg
Портрет молодого человека. Ок. 1550; Гонолулу, Академия искусств
Портрет молодого человека. 1548; Вена, Музей Лихтенштейна
Неверие Св. Фомы. 1543—1547; Париж, Лувр Файл:Francesco de' Rossi's painting 'The Doubting of St. Thomas'.jpg
Брут, Муций Сцевола и Камилл. Флоренция, Палаццо Веккьо
Встреча Марии и Елизаветы. 1538; Рим, Церковь Сан-Джованни Деколлато

Примечания

Ссылки

wikiredia.ru

Франческо Сальвиати Википедия

Биография

Основные работы

Триумф Камилла. 1543—1545; Флоренция, Палаццо Веккьо
Милосердие. 1554—1558; Флоренция, Галерея Уффици Файл:Francesco Salviati 003.jpg
Мужской портрет. Ок. 1550—1555; Лос-Анджелес, Музей Пола Гетти Файл:Francesco Salviati --Portrait of a Young Man, c. 1550.jpg
Портрет молодого человека. Ок. 1550; Гонолулу, Академия искусств
Портрет молодого человека. 1548; Вена, Музей Лихтенштейна
Неверие Св. Фомы. 1543—1547; Париж, Лувр Файл:Francesco de' Rossi's painting 'The Doubting of St. Thomas'.jpg
Брут, Муций Сцевола и Камилл. Флоренция, Палаццо Веккьо
Встреча Марии и Елизаветы. 1538; Рим, Церковь Сан-Джованни Деколлато

Примечания

Ссылки

wikiredia.ru

Именной указатель , С , Сальвиати Франческо , Александр Бенуа – История живописи

Именной указатель

Партнёрские ссылки:

Краткая справка из Википедии:

Франческо Сальвиати родился во Флоренции в семье ткача. Учился в мастерскоу Андреа дель Сарто. В молодые годы пользовался покровительством кардинала Джованни Сальвиати, по приглашению которого в 1530 году пребывает в Рим. В 1538 году принимает заказ своего патрона на участие в росписи церкви Сент — Джованни Деколлато. Фреска «Встреча Марии и Елизаветы», выполненная им, несёт в себе черты влияния ватиканских росписей Рафаэля. Эта первая большая работа принесла художнику известность. В знак признательности принял фамилию своего покровителя. В 1539 году Сальвиати предпринял поездку в Венецию, в 1540-ые годы живёт и работает преимущественно во Флоренции и Риме. В 1556—1557 годах художник посетил Фонтенбло, где его стиль снискал ему признание. Сальвиати был одним из самых выдающихся мастаров фрески своего времени. Его стиль изящен, а композиции, включающие множество фигур, сложны и тщательно выстроены. К числу лучших работ художника в этой области можно отнести роспись Зала аудиенций Палаццо Веккьо во Флоренции (1543—1544), посвящённую истории жизни римского полководца и диктатора Фурия Камилла и являющуюся аллегорией правления Козимо Медичи. Сальвиати был также прекрасным портретистом. Его работы в этом жанре отличаются точностью психологических характеристик модели и богатством цветовой палитры, напоминающей о живописной традиции Северной Италии. Художник умер в Риме в 1563 году.

Цитаты:

Укажем здесь еще на двух флорентийских художников XVI в., которые, кроме Франчабиджо и Граначчи, славились работами для театра. Сюда относятся Франческо де Сальвиати (им исполнены декорации для комедии, сыгранной в честь Пьер Луиджи Фарнезе в Кастро, и для комедии, представленной во Флоренции в 1541 г.) и Бронзино, исполнивший постановку для спектакля, данного в Palazzo Vecchio.

Читать о Сальвиати в тексте книги

Знаменитейший в свое время Francesco dei Rossi (по прозванию "Сальвиати"), сын ткача, родился во Флоренции в 1510 г. Готовился одно время быть золотых дел мастером, затем поступил в ученики к Буджардини и Бандинелли; около 1530 г. его приглашает кардинал Сальвиати в Рим, и Франческо довершает свое образование изучением древних памятников и новой живописи в Ватикане, а также пишет ряд фресок, картин, декоративных работ и портретов, из которых лишь немногие сохранились.

Читать о Сальвиати в тексте книги

Картины:

Франческо Сальвиати. Битва римлян с галлами. Фреска в Palazzo Vacchio во Флоренции.

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Франческо де Росси Википедия

Биография

Основные работы

Триумф Камилла. 1543—1545; Флоренция, Палаццо Веккьо
Милосердие. 1554—1558; Флоренция, Галерея Уффици Файл:Francesco Salviati 003.jpg
Мужской портрет. Ок. 1550—1555; Лос-Анджелес, Музей Пола Гетти Файл:Francesco Salviati --Portrait of a Young Man, c. 1550.jpg
Портрет молодого человека. Ок. 1550; Гонолулу, Академия искусств
Портрет молодого человека. 1548; Вена, Музей Лихтенштейна
Неверие Св. Фомы. 1543—1547; Париж, Лувр Файл:Francesco de' Rossi's painting 'The Doubting of St. Thomas'.jpg
Брут, Муций Сцевола и Камилл. Флоренция, Палаццо Веккьо
Встреча Марии и Елизаветы. 1538; Рим, Церковь Сан-Джованни Деколлато

Примечания

Ссылки

wikiredia.ru

Сальвиати Франческо - Википедия

Материал из Википедии — свободной энциклопедии

Биография[ | ]

Родился во Флоренции в семье ткача. Учился в мастерской у Андреа дель Сарто. В молодые годы пользовался покровительством кардинала , по приглашению которого в 1530 году прибывает в Рим. В 1538 году принимает заказ своего патрона на участие в росписи церкви Сан-Джованни Деколлато. Фреска «Встреча Марии и Елизаветы», выполненная им, несёт в себе черты влияния ватиканских росписей Рафаэля. Эта первая большая работа принесла художнику известность. В знак признательности принял фамилию своего покровителя. В 1539 году Сальвиати предпринял поездку в Венецию, в 1540-е годы живёт и работает преимущественно во Флоренции и Риме. В 1556—1557 годах художник посетил Фонтенбло, где его стиль снискал ему признание. Сальвиати был одним из самых выдающихся мастеров фрески своего времени. Его стиль изящен, а композиции, включающие множество фигур, сложны и тщательно выстроены. К числу лучших работ художника в этой области можно отнести роспись Зала аудиенций Палаццо Веккьо во Флоренции (1543—1544), посвящённую истории жизни римского полководца и диктатора Фурия Камилла и являющуюся аллегорией правления Козимо Медичи. Сальвиати был также прекрасным портретистом. Его работы в этом жанре отличаются точностью психологических характеристик модели и богатством цветовой палитры, напоминающей о живописной традиции Северной Италии. Художник умер в Риме в 1563 году.

Основные работы[ | ]

Триумф Камилла. 1543—1545; Флоренция, Палаццо Веккьо
Милосердие. 1554—1558; Флоренция, Галерея Уффици Файл:Francesco Salviati 003.jpg
Мужской портрет. Ок. 1550—1555; Лос-Анджелес, Музей Пола Гетти Файл:Francesco Salviati --Portrait of a Young Man, c. 1550.jpg
Портрет молодого человека. Ок. 1550; Гонолулу, Академия искусств
Портрет молодого человека. 1548; Вена, Музей Лихтенштейна
Неверие Св. Фомы. 1543—1547; Париж, Лувр Файл:Francesco de' Rossi's painting 'The Doubting of St. Thomas'.jpg
Брут, Муций Сцевола и Камилл. Флоренция, Палаццо Веккьо
Встреча Марии и Елизаветы. 1538; Рим, Церковь Сан-Джованни Деколлато

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