乔瓦尼·巴蒂斯塔·迪雅格布Rosso Fiorentino

乔瓦尼·巴蒂斯塔·迪雅格布(1495年3月8日,1540年11月14日),被称为罗索佛罗伦萨(意为意大利的“红色佛罗伦萨”),或伊尔二队,是一个意大利 风格主义 画家。

  • 中文名乔瓦尼·巴蒂斯塔·迪雅格布
  • 外文名Rosso Fiorentino
  • 别名罗索佛罗伦萨或伊尔二队
  • 性别
  • 国籍意大利
  • 出生日期1495年3月8日
  • 逝世日期1540年11月14日
中文介绍

 出生在佛罗伦萨与红色的头发给了他的绰号,二队在工作室第一训练有素的安德烈亚·德尔·萨尔托沿着他的当代,蓬托尔莫。在1523年年末,二队搬到了罗马,在那里他接触到的作品米开朗基罗拉斐尔等文艺复兴时期的艺术家,导致他的艺术风格的调整。

 

后逃离罗马的1527解职,二队最终去了法国,在那里他固定在法院的位置弗兰西斯一世于1530年,剩下的,直到他去世。加上弗兰西斯科·普列马提乔,二队是领先的艺术家之一的工作酒庄枫丹白露的“第一部分枫丹白露的学校 ”,花费了他的生活在那里。在他于1540年死亡(其中,根据未经证实的索赔瓦萨里,是自杀[1]),弗兰西斯科·普列马提乔在枫丹白露主持艺术方向。

 

二队的声誉,以及其他程式化的文艺复兴晚期佛罗伦萨的,是长期失宠,相较于其他更自然和优美的同时代人,但近几十年大幅恢复。他的代表作是在一个小城市,从旅游路线走,在这样的因素,尤其是摄影的到来之前。他的姿势肯定是扭曲的,和他的数字经常出现憔悴瘦弱,但他的工作有相当大的权力。

 

从十字架上,沃尔泰拉(罗索佛罗伦萨)沉积

 

他的代表作被普遍认为是沉积或下十字架 祭坛在科穆纳莱美术馆迪沃尔泰拉(最初画了大教堂)。相对于其他沉积的冷冻悲痛,这其中表现为匆忙和复杂的操作,而在下图中有安静的悲伤简单而有力的表达,与被隐藏的面孔暗示强大的表达式。天空是阴沉。这三个梯子和那些结转基督出现岌岌可危。基督自己是蜡黄。对比这狂热,海风吹拂的场景由近当代佛罗伦萨风格主义同一主题的同样复杂,但更内敛的组成蓬托尔莫

English Introduction

 Born to his nickname in Florence with red hair, the two team in the first studio Andrea Del Sarto trained with regularity along his contemporary, Peng tolmo. At the end of 1523, the two team moved to Rome, where he came into contact with the works of Michelangelo, Rafael, and other Renaissance artists, leading to the adjustment of his artistic style.

Fled Rome after 1527 sacked two team eventually went to France, where he is fixed on the position of Francis court in 1530 the rest of the world, until he died. Coupled with Francesco Prematijo, the two team is one of the leading artists of the work Chateau Fontainebleau's "first part of Fontainebleau's school", which spent his life there. When he died in 1540 (which, according to unconfirmed claims he is [1], Francisco F Leo Marty Jo Dutch act), presided over the art direction in Fontainebleau.

The two team's reputation, as well as other stylized late Renaissance Florence, is long out of favour, compared to other contemporaries more natural and beautiful, but in recent years a substantial recovery. His masterpiece is in a small city, from the tourist route, in such factors, especially before the arrival of photography. His posture is certainly distorted, and his figures often appear gaunt and emaciated, but his work has considerable power.

From the cross, Volterra (Russell Florence) deposition

His masterpiece is generally considered to be deposited or cross the altar at the Museum of Fine Arts (originally Tara comunale divor painted Cathedral). Compared to other sedimentary frozen grief, which manifested as a rush and complex operation, while in the following picture there is a simple and powerful expression of quiet sadness, and hidden face is a powerful expression. The sky is gloomy. The three ladders and those who carried Christ appeared to be in jeopardy. Christ himself is sallow. Comparison of the fanatical, windswept scene from near modern Florence style on the same theme as complex, but Pontormo is more introverted.

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