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Topic: Andrea del Sarto

	Andrea Del Sarto (1486 - 1530) Artwork Images, Exhibitions, Reviews
		Andrea del Sarto trained Jacopo Pontormo, Rosso Fiorentino, and Giorgio Vasari in his studio during the early 1510’s, his influence evident in many of their works as well as their technique of using preparatory sketches.
		Andrea del Sarto, Beheading of St. John the Baptist and presentation of his head, circa 1600
		Andrea del Sarto - The Sacrifice of Isaac c.
	wwar.com /masters/s/sarto-andrea_del.html (657 words)

	Andrea del Sarto - MSN Encarta
		Andrea del Sarto (1486-1530), Florentine painter of the High Renaissance, who made his reputation with a series of frescoes on the life of John the Baptist.
		Andrea was born Andrea d'Agnolo in Florence, Italy, on July 16, 1486.
		Andrea gained international acclaim, and in 1518 he was summoned to the court of Francis I of France, who entrusted him with money to purchase works of art in Italy.
	encarta.msn.com /encyclopedia_761576139/Andrea_del_Sarto.html (378 words)

	NationMaster - Encyclopedia: Andrea del Sarto (Site not responding. Last check: )
		Andrea was born in Gualfonda, close to Florence, in either 1486 or 1487: he was one of four children to Agnolo, a tailor (sarto).
		Del Sarto's most grandiose monument, in the terms of the amount of time he devoted to its completion, is the grisaille series in the Chiostro dello Scalzo.
		Andrea del Sarto (1486-1530), Florentine painter of the High Renaissance, who made his reputation with a series of frescoes on the life of John the Baptist.
	www.nationmaster.com /encyclopedia/Andrea-del-Sarto (471 words)

	Andrea del Sarto Biography
		Andrea appears to have been an easy-going plebeian, to whom a modest position in life and scanty gains were no grievances.
		In the Madrid museum (Museo del Prado) the "Virgin and Child," with Joseph, Elizabeth, the infant Baptist and an Archangel.
		A very noticeable incident in the life of Andrea del Sarto relates to the copy, which he produced in 1523, of the portrait group of Pope Leo X by Raphael; it is now in the Naples Museum, the original being in the Pitti Gallery.
	www.biographybase.com /biography/Sarto_Andrea_del.html (2098 words)

	Andrea del Sarto - Biography and Gallery of Art
		But Andrea displayed far more genius in his John baptising the multitudes, some undressing, some receiving baptism, and some waiting their turn, already undressed, the expression of all being intense in their anxiety to be cleansed of sin, while all the figures are so excellently done that they resemble a marble group.
		Andrea was suggested to him, among others, and although not knowing much of the matter, M. Baldo had almost made up his mind to employ him when one Niccolo Soggi, of Sansovino, who had friends in Prato, was recommended to M. Baldo and obtained the work, as they said no better master could be had.
		Andrea's death was a great loss to the city and to art, because he improved steadily until his forty-second and last year, and would have continued so to do, because more certain progress is won thus gradually than by a spurt.
	www.artist-biography.info /artist/andrea_del_sarto (7613 words)

	Andrea del Sarto Summary
		Andrea was born in Gualfonda, close to Florence, in either 1486 or 1487: he was one of four children to Agnolo, a tailor (sarto).
		Del Sarto's most grandiose monument, in the terms of the amount of time he devoted to its completion, is the grisaille series in the Chiostro dello Scalzo.
		A very noticeable incident in the life of Andrea del Sarto relates to the copy, which he produced in 1523, of the portrait group of Pope Leo X by Raphael; now in the Naples Museum, the original remains at the Pitti.
	www.bookrags.com /Andrea_del_Sarto (2468 words)

	la Repubblica of the Arts
		Andrea in all likelihood adhered to these values, and he not only applied them to his own life, but chose to restrict his relationships to men who shared them.
		Andrea's relations with his religious patrons were similar, insofar as they were often effectuated through minor figures whom he knew personally, and for whom he worked with a felicitous lack of presumption.
		Andrea del Sarto's preference for associating with those who shared his vision of the world is further demonstrated by his long relationship with Franciabigio which, though severed at the commercial level sometime around 1510, must surely have continued on the human plane - Vasari's insinuations of a definitive falling out notwithstanding.
	www.repubblica.it /repubblicarts/delsarto/testo.html (946 words)

	Andrea del Sarto Biography \| Encyclopedia of World Biography
		With Michelangelo and Raphael working in Rome, Andrea del Sarto became the leading painter in Florence following the death of Fra Bartolommeo in 1517, and through his pupils, II Rosso and Pontormo, he was a vital formative influence on the development of mannerism.
		Between 1511 and 1526 Andrea painted the famous monochrome fresco cycle in the cloister of the Scalzo, Florence, which is one of the masterpieces of High Renaissance art.
		Andrea may have visited Rome in 1519-1520 in connection with the important commission from Pope Leo X for the decoration of the Medici villa at Poggio a Caiano, near Florence, since Andrea's fresco Tribute to Caesar (dated 1521) at the villa strongly suggests a direct experience of Raphael's work in Rome.
	www.bookrags.com /biography/andrea-del-sarto (946 words)

	Andrea del Sarto Biografie
		Als dessen Schüler wird del Sarto von den großen Meistern der Hochrenaissance geprägt.
		Andrea del Sarto gründet 1506 mit Franciabigio eine Werkstattgemeinde.
		Andrea del Sartos Werke zeichnen sich durch frische Natürlichkeit, Streben nach mannigfaltiger Charakteristik, geschickte Ordnung und Gruppierung, harmonische Färbung und anmutige Darstellung, verbunden mit gewandter Zeichnung, aus.
	www.andrea-del-sarto.de (0 words)

	Biography
		The epithet 'del sarto' (of the tailor) is derived from his father's profession; his real name was Andrea d'Agnolo di Francesco.
		Andrea's reputation was largely made and marred by Vasari, who said that Andrea's works were 'faultless' but represented him as a weakling completely under the thumb of his wicked wife.
		Andrea has suffered from being the contemporary of such giants as Michelangelo and Raphael, but he undoubtedly ranks as one of the greatest masters of his time.
	www.wga.hu /bio/a/andrea/sarto/biograph.html (501 words)

	Andrea del Sarto
		From 1509 to 1514 the brotherhood of the Servites employed Andrea, as well as Franciabigio and Andrea Feltrini, the first-named undertaking in the portico of the Annunziata three frescoes illustrating the life of the Servite saint Filippo Benizzi (died in 1285).
		Andrea del Sarto appears to have been an easygoing plebeian, to whom a modest position in life and scanty gains were no grievances.
		At one time, Franciabigio being then the chairman of the Kettle-men, Andrea recited, and is by some regarded as having composed, a comic epic, "The Battle of the Frogs and Mice" -- a rechauffé, as one may surmise, of the Greek Batrachomyomachia, popularly ascribed to Homer.
	www.nndb.com /people/983/000107662 (2026 words)

	Andrea del Sarto - Madonna of the Harpies (Site not responding. Last check: )
		Andrea del Sarto - Madonna of the Harpies
		In del Sarto's painting evil is symbolized by the monstrous figures on the pedestal.
		The Madonna of the Harpies is a milestone in the career of Andrea del Sarto.
	art.mlc.vic.edu.au /renaissance/artistspages/delsarto/harpies.cfm (375 words)

	SparkNotes: Robert Browning's Poetry: "Andrea del Sarto"
		Andrea del Sarto, like Fra Lippo Lippi, lived and worked in Florence, albeit a little later than Lippo, and was later appointed court painter by Francis, the King of France.
		Andrea now finds himself in the twilight of his career and his marriage: Lucrezia's "Cousin"--probably her lover--keeps whistling for her to come; she apparently either owes the man gambling debts or has promised to cover his own.
		Andrea blames his disappointing career on his inability to match his unparalleled technical skills with appropriate subject matter: all the Virgins he paints look like his wife, and he has never had the time at court to allow his work to blossom.
	www.sparknotes.com /poetry/browning/section10.rhtml (2649 words)

	Musei a Firenze. I principali musei di Firenze.
		Il Museo di San Marco a Firenze occupa gli spazi del del convento domenicano che venne ricostruito dal Michelozzo in circa 10 anni a partire dal 1436 seguendo un incarico di Cosimo il Vecchio de' Medici.
		Il Museo del Bargello di Firenze è situato in un imponente edificio costruito intorno alla metà del XIII Secolo, secondo il Vasari, su disegno di un certo Lapo, padre di Arnolfo di Cambio, per ospitare il Capitano del Popolo; successivamente sede del podestà e del Consiglio di Giustizia.
		Il museo del Cenacolo di Andrea del Sarto occupa un antico convento dei Vallombrosani intitolato a San Salvi.
	www.firenze-online.com /visitare/musei-firenze.php (0 words)

	Andrea del Sarto - Encyclopedia.com
		Sarto, Andrea del, 1486-1531, Florentine painter of the High Renaissance.
		Andrea del Sarto's monsters: the Madonna of the Harpies and human-animal hybrids in the renaissance.(artists)
		(Dis) assembling: Marsyas, Michelangelo, and the Accademia del Disegno.
	www.encyclopedia.com /doc/1E1-Sarto-An.html (559 words)

	Inspiration and Unrequited Love in Browning's "Andrea del Sarto" (Site not responding. Last check: )
		Even as del Sarto speaks confidently about his art, which is highly acclaimed, he is deeply burdened both by Lucrezia's lack of interest in his artistic creations, as well as by the fact that he is rapidly losing her love.
		While del Sarto seems to be boasting of his artistic skill (lines 69-71 especially), his insecurity also comes through, as it becomes clear that Lucrezia is unimpressed with his virtuosity, even as he tries to draw her attention to the praise he elicits from others.
		del Sarto desperately wants to believe that he is truly talented and self-inspired, but he is insecure about his abilities, and he worries that he is dependent onLucrezia in a way that other brilliant artists were not dependent on anyone.
	www.victorianweb.org /authors/rb/newman4.html (703 words)

	Candida Martinelli's Italophile Site(del Sarto)
		Andrea knew that he must look for no help from her, and that he must paint in spite of the hindrances she placed in his way.
		Andrea loved his wife too well to think of refusing her request, and the days of peace and plenty must come to an end.
		So Andrea journeyed back to Florence, and when he was once again with his wife, his joy and delight in her were so great that he forgot all his promises, forgot even the king's trust, and allowed Lucrezia to squander all the money which was to have been spent on art treasures for King Francis.
	italophiles.com /knights_of_art_sarto.htm (2886 words)

	CATHOLIC ENCYCLOPEDIA: Andrea Del Sarto
		He received the surname Sarto from the fact that he was the son of a tailor.
		Andrea del Sarto owes much to Fra Bartolommeo, borrowing from him the architectural arrangement of his compositions as in "Charity" of the Louvre, where triangle grouping is used.
		Andrea was above all a colourist, "the greatest colourist of the sixteenth century, in the region south of the Apennines" (Burckhardt).
	www.newadvent.org /cathen/13478c.htm (0 words)

	Andrea del Sarto Online
		Andrea del Sarto at the Louvre Museum, Paris
		Andrea del Sarto at the National Gallery, London, UK Portrait of a Young Man
		Andrea del Sarto at the Prado Museum, Madrid
	www.artcyclopedia.com /artists/andrea_del_sarto.html (0 words)

	Andrea Del Sarto - PowerBookSearch!
		Instead, he shows del Sarto to have chosen a path that he rigorously followed in light of his humility and in a circle of like-minded friends and fellow artists.
		Not a catalogue raisonn?e (Natali defers to Sydney J. Freedberg's Andrea del Sarto, 1963, and John Shearman's Andrea del Sarto, 1965, as essentially complete catalogs), this book is rather a meditation based on a close reading of the artist's environment and a close look at the pictures.
		Not a catalogue raisonn e (Natali defers to Sydney J. Freedberg's Andrea del Sarto, 1963, and John Shearman's Andrea del Sarto, 1965, as essentially complete catalogs), this book is rather a meditation based on a close reading of the artist's environment and a close look at the pictures.
	www.powerbooksearch.com /booksearch0789205319.html (736 words)

	Andrea del Sarto: il volto dell'amore
		Nel 1517 Andrea del Sarto dipinge la celebre Madonna delle Arpie (oggi nelle Gallerie degli Uffizi a Firenze), della quale l'opera della Galleria Borghese riprende il movimento avvitato dei corpi e il volto di Maria.
		Andrea si reca presso quella sontuosa corte e vi resta un anno; poi si congeda da Francesco I che tenta di trattenerlo, promettendo, anzi giurando al sovrano di fare in breve ritorno portando con sé Lucrezia, sposata appena un mese prima di giungere in Francia.
		Andrea torna finalmente a Firenze, da Lucrezia e non farà mai più ritorno in Francia nonostante le promesse fatte a Francesco I; l'ambiente culturale fiorentino è più congeniale alla propria opera e Lucrezia gli è vicina.
	www.activitaly.it /subura/arte/delsarto.htm (355 words)

	Andrea Del Sarto
		Andrea del Sarto was a pupil of Piero di Cosimo and his tone and colour was more specific to the Venetian than the Florentine school.
		Andrea had the name of "the faultless painter" because he carefully composed work.
		The work of Andrea del Sarto wascelebrated in the nineteenth century by the poet Robert Browning.
	www.artline.ro /D-Andrea-Del-Sarto-1474-2.html (417 words)

	Andrea Del Sarto \| Abbeville Press Books (Site not responding. Last check: )
		Illustrated with 200 splendid reproductions, this monograph challenges the conventional wisdom about Andrea del Sarto, the most important painter working in Florence when Raphael and Michelangelo were active in Rome.
		By returning to original sources, Natali succeeds in introducing a new Andre del Sarto (1486-1530), one whose brilliant and moving pictures leap off the pages with startling freshness.
		Not so, says Natali, who argues instead that Andrea chose a simple but culturally vibrant life in a circle of like-minded friends--intellectuals and common folk who practiced material austerity and humility.
	www.abbeville.com /booktemplate.asp?stockno=5319 (226 words)

	Amazon.ca: Andrea del Sarto: Books: Antonio Natali (Site not responding. Last check: )
		Natali sets his vision of the artist against the traditional view, begun by Vasari, that del Sarto was a timid soul who wasted his talent.
		Instead, he shows del Sarto to have chosen a path that he rigorously followed in light of his humility and in a circle of like-minded friends and fellow artists.
		Not a catalogue raisonn?e (Natali defers to Sydney J. Freedberg's Andrea del Sarto, 1963, and John Shearman's Andrea del Sarto, 1965, as essentially complete catalogs), this book is rather a meditation based on a close reading of the artist's environment and a close look at the pictures.
	www.amazon.ca /Andrea-del-Sarto-Antonio-Natali/dp/0789205319 (429 words)

	English 151-3; "Michael: A Pastoral Poem" notes (Site not responding. Last check: )
		This portrait of Andrea del Sarto (1486-1531) was derived from a biography written by his pupil, Giorgio, Vasari, author of The Lives of the Painters.
		Vasari's account seeks to explain why his Floretine master, one of the most skillful painters of the Renaissance, never altogether fulfilled the promise he had shown early in his career and why he had never arrived (in Vasari's opinion) at the level of such artists as Raphael.
		Andrea - not a striver - lesser painter might be the finer person - faulty man - aestheticizing Lucrezia
	www.vanderbilt.edu /AnS/english/English151W-03/browning[andreadelsarto].htm (430 words)

	Andrea del Sarto - Robert Browning’s Andrea del Sarto
		By giving Lucrezia voice, I confront these issues both directly and implicitly, all the while establishing del Sarto’s wife as a complete and complex character, imbued with substance and conviction of her own.
		His wife is presented as an impatient and irritated, although mature, woman, and her practical nature surfaces in the rhythm, as much as in the meaning, of her speech.
		Finally, she mocks the self-satisfied contentment which Andrea has achieved by the end of his dialogue, after he has bemoaned his failures—and blamed a good deal of them on his wife.
	www.123helpme.com /view.asp?id=21885 (1726 words)

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