Andrea del SartoItalien, 1486–1530Domenico da Gambassi
Kann ich es sehen?
Ja, derzeit ausgestellt
Wo ist „Domenico da Gambassi“ heute? Art Institute of Chicago, Saal 205, Chicago. Ja, derzeit ausgestellt. Geprüft 29. September 2026.
Chicago, Vereinigte Staaten
Geschlossen· öffnet um 11:00
Öffentlich ausgestellt.
- Geprüft
- Unverändert seit
- Quelle
- Das Museum
Über das Gemälde
This casually posed and loosely rendered portrait originally made up part of the lower section, or predella, of an altarpiece for a church in Gambassi, near Florence. The images of the patron, Domenico, and his wife, Lucrezia, flanked additional, now-lost paintings. The painted strapwork around the portraits, discovered during recent conservation treatment, once formed part of a decorative pattern that would have extended throughout the predella; it indicates how all the individual paintings were interconnected. Andrea del Sarto added highlights at the bottom of each roundel, mimicking the natural light of the church, to create the illusion of the paintings being set within a three-dimensional frame.
Art Institute of ChicagoCC BY 4.0
Angaben
- Inventarnummer
- 1964.1097a
Was es zeigt
Im Katalog
Quellen
- Art Institute of Chicago
- Bild: Art Institute of Chicago — CC0
Im Leben von Andrea del Sarto
Das ganze Lebenby 1523
Prosperity: pupils, servants and unprofitable commissions
By 1523 Andrea has improved his finances so far that he keeps not only pupils but servants as well and can afford to take on commissions that promise no income.
1523–1524
The plague: flight to the Mugello valley
The plague epidemic of 1523–1524 forces Andrea and his wife to flee Florence and take refuge in the countryside of the Mugello valley. There in 1524 he paints for the convent of St Peter an “Entombment” (now in the Pitti Gallery): the composition seems borrowed from Fra Bartolomeo and the poses are theatrical, but the soft shadows, highlights and saturated colours are an achievement.
1524
Michelangelo brings the young Vasari to him
Michelangelo, who is said to have thought very highly of Andrea’s talents, introduces the thirteen-year-old Giorgio Vasari to Andrea’s studio in 1524; Vasari later becomes his pupil. In his “Lives” Vasari is highly critical of his teacher, alleging that although Andrea had all the prerequisites of a great artist he lacked ambition and the divine fire of inspiration that animated Leonardo, Michelangelo and Raphael.
1527
The expulsion of the Medici and the “Sacrifice of Isaac”
After the Medici family is expelled from Florence once again in 1527, Andrea goes on working on commissions from the Signoria; at that time he paints the “Sacrifice of Isaac”, intended as a gift to the French king François I.
