The world of Rosso FiorentinoAcidic colors, tense bodies and anticlassical invention make Rosso Fiorentino a pioneer of mannerism between Italy and France.
1494 -1540Life and career
Florence, Rome, Volterra, Sansepolcro, Venice, Paris and Fontainebleau CastleMain homes
Mannerism, religious painting, portrait, oil, fresco, drawing, engraving, stucco, court decoration, anticlassical color, anatomy and inventionPractical
°1,000Paintings, frescoes, portraits, drawings, engraved models, decorations, studio works, lost works and created works, overall estimate
Hand paintedReal oil painting, no print.
Formats of your choiceA composition adapted to the dimensions ordered.
Photo validationExamine your board before shipping.
Possible alterationsRequest adjustments before sending.
1494 -1540 · Florence, Rome and first School of Fontainebleau
Acidic colors, tense bodies and anticlassical invention make Rosso Fiorentino a pioneer of mannerism between Italy and France.
Giovanni Battista di Jacopo, nicknamed Rosso Fiorentino because of his red hair, was born in Florence in 1494 and died in France in 1540. Trained in the environment of Andrea del Sarto alongside Pontormo, he rejected the serene balance very early on of the High Renaissance. Its elongated figures, its compressed spaces, its unexpected colors and its nervous gestures give religious subjects an almost visionary tension. The Virgin and Child in majesty with several saints, painted in 1518, disconcerted its sponsor with the strangeness of the faces and the anticlassical force of the composition. The different Holy Families and Virgins with Children show how Rosso transforms a theme traditional: unstable bodies, excessive proximity and offbeat looks prevent any conventional gentleness. After Florence, he worked in Rome from 1523 until the sack of the city in 1527, then traveled between several Italian centers. In 1530, he joined the court of François I. At the Château de Fontainebleau, he designed with Primaticce a total decor made of frescoes, stucco, frames and graphic inventions, notably for the François I gallery. At the Château de Fontainebleau, he designed with Primaticce a total decor made of frescoes, stucco, frames and graphic inventions, notably for the François I gallery. At the Château de Fontainebleau, he designed with Primaticce a total decor made of frescoes, stucco, frames and graphic inventions, notably for the François I gallery. These ensembles founded the first School of Fontainebleau and spread mannerism throughout Northern Europe. Rosso was also a portrait painter and creator of models for engraving. His art did not destroy the Renaissance: he pushed its elegance, anatomy and color to a new expressiveness. The "Rosso Fiorentino" selection notably compares The Holy Family with the child Saint John the Baptist and The Virgin and Child. His reading favors figures.
Rosso deliberately disrupts harmony: color, body and space become instruments of restless emotion.
Course & style
Journey, subjects and pictorial language
Florence and anticlassical rupture
Andrea del Sarto, Pontormo and religious commissions reveal a deliberately tense and original language. This milestone sheds light on the "Rosso Fiorentino" collection by favoring figures.
Rome, sack of 1527 and Italian wandering
Scholarly elegance, historical violence and travel further transform his vocabulary.
Francis I and Fontainebleau
Fresco, stucco and court arts founded a decisive decorative model for French mannerism.
01
Acidic color
Greens, pinks, oranges and blues create chords that break with naturalistic harmony. This trait guides a reading of "Rosso Fiorentino" centered on the figures.
02
Body under tension
Lengthening, muscles and oblique gestures make you feel energy that is difficult to contain.
03
Compressed space
Figures close to the pictorial plane intensify the encounter with the viewer.
04
Total decor
In Fontainebleau, painting, stucco, architecture and engraving are part of the same invention.
Explore by universe
Six readings specific to Rosso Fiorentino
Works, visual language and historical landmarks make up a route exclusively devoted to Rosso Fiorentino.
Family under tension01
The Holy Family with the child Saint John the Baptist
Proximity to bodies and unstable gestures radically renew the expected softness of the theme.
Landmark work by Rosso Fiorentino. Reading of "Rosso Fiorentino" by the figures.Mannerist devotion02
The Virgin and Child
The tight framing and elongated shapes give the sacred intimacy an expressive strangeness.
Landmark work by Rosso FiorentinoGestures and looks03
The Virgin and Child with little Saint John
Emotional relationships go through a complex network of gestures, twists and glances.
Landmark work by Rosso FiorentinoAnticlassical altarpiece04
Virgin and Child in majesty with saints
Tense figures, singular faces and dissonant colors transform the altarpiece into an early manifesto of mannerism.
Landmark work by Rosso FiorentinoStyle05
Acidic color
Greens, pinks, oranges and blues create chords that break with naturalistic harmony. This trait guides a reading of "Rosso Fiorentino" centered on the figures.
Reading key for Rosso FiorentinoStyle06
Body under tension
Lengthening, muscles and oblique gestures make you feel energy that is difficult to contain.
Reading key for Rosso Fiorentino
Works to discover
Works by Rosso Fiorentino
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Are the reproductions hand painted?
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Collection guide Rosso Fiorentino
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