Italian painter
Giovanni Battista di Jacopo (8 March 1495[a] – 14 November 1540), known as Rosso Fiorentino (meaning "Florentine Redhead" carry Italian) or Il Rosso ("The Redhead"), was an Italian Manneristpainter who worked in oil and fresco and belonged to say publicly Florentine school.
Born in Florence with the red hair consider it gave him his nickname, Rosso first trained in the cottage of Andrea del Sarto alongside his contemporary, Pontormo. His originally works include Holy Family with the Infant Saint John say publicly Baptist (Walters Art Gallery), Cherub Playing a Lute (Uffizi) post The Infant Saint John the Baptist (private collection), all produced around 1521. In late 1523, Rosso moved to Rome, where he was exposed to the works of Michelangelo, Raphael, viewpoint other Renaissance artists, resulting in the realignment of his exquisite style.
Fleeing Rome after the Sacking of 1527, Rosso long run went to France where he secured a position at picture court of Francis I in 1530, remaining there until his death. Together with Francesco Primaticcio, Rosso was one of picture leading artists to work at the Chateau Fontainebleau as knack of the "First School of Fontainebleau", spending much of his life there. Following his death in 1540 (which, according tip off an unsubstantiated claim by Vasari, was a suicide [1]), Francesco Primaticcio took charge of the artistic direction at Fontainebleau.
Rosso's reputation, along those of other stylized late Renaissance Florentines, was long out of favour in comparison to other more representational and graceful contemporaries, but has revived considerably in recent decades. That his masterpiece is in a small city, away pass up the tourist track, was a factor in this, especially in the past the arrival of photography. His poses are certainly contorted, folk tale his figures often appear haggard and thin, but his out of a job has considerable power.
His masterpiece is in general considered to be the Deposition or Descent from the Crossaltarpiece in the Pinacoteca Comunale di Volterra (initially painted for interpretation Duomo). In contrast to the frozen grief of other depositions, this one appears as a hurried and complicated operation, time the figures below have simple and forceful expressions of stabilize grief, with powerful expressions hinted at by hidden faces. Representation sky is somber. The three ladders and those carrying unite Christ appear precarious. Christ himself is sallow. Contrast this frenzied, windswept scene with the equally complex, but more restrained integrity on the same theme by the near contemporary Florentine Mannerist Pontormo.
Rosso would go on to paint a second, darker and more crowded Deposition altarpiece for the church of San Lorenzo in Sansepolcro.