Albertinelli, Mariotto

Albertinelli was born on October 13, 1474 in the Italian city of Florence , in the family of the jeweler Biagio di Bindo Albertinelli. His father taught him mastery of his craft, and Albertinelli followed his profession until the age of 20.

Continuing to engage in his father’s golden craft, at the age of 12, Mariotto became a student of Cosimo Rosselli . In the studio of his teacher, the artist received his first knowledge of painting and here he became friends with Baccio della Porta (later known as Fra Bartolomemeo ). Despite the completely different characters, their friendship was so strong that they became one. Friends worked a lot and fruitfully together, which explains the similarity of their manners ("Adoration of the Christ Child", 1490s).

In 1494, Baccio left Cosimo to do art on his own, as a master. Mariotto left with him. So they opened their own workshop, after which for a long time both lived at the Port of San Piero Gattolini, doing a lot together. For a long time, Albertinelli was considered a double of Fra Bartolomemeo , not paying tribute to his talent. But Mariotto himself was under the strong influence of his friend, and the time spent together was the most brilliant period of his work, when he reached the greatest monumentality and compositional perfection.

Since Mariotto did not so thoroughly master the pattern as Baccio, he turned to the study of the antique people who were then in Florence , most of which was in the Medici house. He painted many times some of the small slabs carved in half relief in the loggia of the garden overlooking San Lorenzo ; on one of them was Adonis with a dog, on the other two nudes, one of whom was sitting with a dog at his feet, the other was standing with his legs crossed, leaning on a stick; there were two others of the same size, on one of which there were two putts with the feathers of Jupiter , and on the other a naked old man, with wings behind his back and ankles, and with weights in his hands. In addition, this garden was full of female and male torsos, which were studied not only by Mariotto, but also by all the sculptors and painters of that time. Most of this is now stored in the dressing room of the Duke Cosimo, and the other part remained in place, such as the two torsos of Marcia, the busts above the windows and the busts of emperors above the doors remained in place.

Studying these antiques, Mariotto made great strides in drawing and joined the service of Alfonsina Orsini, the mother of Lorenzo Medici , who rendered him all kinds of help so that Mariotto could improve. Indeed, alternating the technique of drawing with painting, he gained considerable experience, as it was found in several paintings written by him for this signora, which she sent to Rome for Carlo and Giordano Orsini and then fell into the hands of Cesare Borgia . He wrote Madonna Alfonsin very well from nature, and it seemed to him that in this proximity to her he had already found his happiness. However, when Pierrot de Medici was expelled in 1494 , Mariotto lost his help and patronage and moved back to Baccio, where he began with even more zeal to make clay models and study and study hard nature, and also imitated the work of Baccio, why he in a few years, he became a diligent and experienced master. And, seeing that everything was so good at him, he became so bold as to imitate the manner and behavior of his comrade that many took Mariotto's works for the work of Fra Bartolomemeo. However, Albertinelli is not only more tender and graceful than his friend, but also more detailed in execution.

When Baccio della Porta abandoned painting and left the world for a monastery, Mariotto, having lost a comrade, was confused and how lost and so strange it seemed to him that he fell into despair and nothing pleased him anymore. And if in general Mariotto didn’t have such an aversion to talking with monks, about whom he always spoke very badly, and if he did not belong to the opponents of the brother Girolamo Ferrara’s party, then his love for Baccio, that look, would make him cut his hair and go to the monastery with a friend. However, Gerozzo Dini urged him to finish the “Last Judgment” that he had ordered for the cemetery and left unfinished, as both had the same manner. And since there was cardboard made by Baccio’s hand, as well as other drawings, Fra Bartolomeo himself asked him to finish this work, who received money for it and who was tormented by his conscience for not fulfilling his obligations, Mariotto brought the matter to an end with zeal and love so that many, who knew nothing about it, thought that everything was written with one hand, thanks to which he gained the greatest authority in his art.

Mariotto Albertinelli was, according to Vasari , "a man of a very restless disposition, submissive to his flesh in affairs of love, and very cheerful in everyday life." Colleagues reproached him with frivolity, and, as if to confirm their words, Mariotto Albertinelli quit painting. Having decided to get down to business, but less tiring and more fun, and having opened a superb tavern outside the gates of San Gallo , and at Ponte Vecchio a tavern and tavern, he was engaged in this business for many months, saying that he chose art in which there is neither anatomy, neither foreshortenings, nor perspectives and, most importantly, for which no one offends, but that in the art that he abandoned, everything was exactly the opposite, because it depicted meat and blood, and it poured blood and built up meat; and here every day you hear that you are praised for good wine, and there you only hear how they scold you.

However, he was tired of this and, ashamed of the occupation of such an unworthy one, he again returned to painting and painted paintings and painted houses of citizens in Florence . So, for Giovan Mario Benintendi, he personally made three small stories, and in the Medici house he painted in oil on the occasion of the election of Pope Leo X tondo with their emblem and with Faith, Hope and Love. And for the partnership of San Zanobi, which is near the canonical Santa Maria del Fiore, he agreed to write the Annunciation on the board, which he carried out with great zeal. For this purpose, he deliberately ordered to break a window in the place intended for the image and decided to write it there, so that, at his own discretion, weaken and strengthen images of buildings on it, depending on their visible height and remoteness.

It occurred to him that paintings in which there was no relief and strength, and at the same time no tenderness, cost nothing. And since he understood that they would not stand out on a plane without shadows, if they were very dark, they would be impenetrable, and if they were tender, there would be no strength in them, he dreamed of combining tenderness in them with a special technique, which as it seemed to him, art has not yet been skillfully applied as he wished. And therefore, when he had the opportunity to apply this in the aforementioned work, he began to achieve this with incredible efforts, as can be seen from the figures of God the Father and several putts floating in the air, which stand out strongly on the blackboard due to the dark background of the architectural perspective written by him in in the form of a semicircular vault covered with carvings, which, as the arches decrease and the lines approach the vanishing point, deepens so that it seems voluminous, not to mention that it depicts very graceful angels that flutter, scattering Veta.

Mariotto wrote and rewritten this work many times until he brought it to the end, changing either a lighter color to a darker one, or more of his liveliness and brightness to a smaller one. However, this did not satisfy him in any way and he believed that the hand still lacked the ideas of the mind, he wanted to find a white tone brighter than white, and he began to clean them in order to lighten the brightest places the way he wanted to. Nevertheless, he had to admit that art could not express what a person’s genius and mind contain, and be satisfied with what he did, being unable to achieve what he could not do. From the artists, he earned praises and honors for this work, moreover, he hoped to receive from his owners for such works much more than what he received, why disagreements arose between the customers and Mariotto. However, Pietro Perugino , then already old, Ridolfo Ghirlandaio and Francesco Granacci appreciated this work and jointly determined its value. In the church of San Brancazio in Florence, he wrote in half-tondo a visit by Maria Elizabeth. Similarly, in the Church of Santa Trinita, Our Lady of St. Jerome and St. Zinovia for Zanobi del Maestro, and in the church of the Congregation of Priests of St. Martina also wrote on the tree another highly acclaimed Visiting.

He was invited to the monastery of della Querca, what kind of Viterbo , but he had just started to take up the next board, when he suddenly wanted to see Rome, and, having left there, he began to write and finished in a fine manner with oil on the board of St. Dominica, St. Catherine of Siena, who is engaged to Christ, and Our Lady by order of her brother Mariano Fetti for his chapel in the church of San Silvestro, in Montecavallo.

After that, he returned to Querce, where he had several lovers with whom he could not have fun while he was in Rome, and with whom, inflamed with an unsatisfied desire, he wanted to show his prowess in tournaments. And so, having made the last effort, but, being no longer very young and not too militant in this matter, he was forced to fall into bed. Ascribing this to the air there, he ordered himself to be carried on a stretcher to Florence. However, neither help nor treatment helped him and, after several days, he died of this ailment on November 5, 1515 and was buried in the church of San Pierre Maggiore of this city.

Albertinelli's students were Pontormo , Innocenzo di Pietro Francci da Imola and Giuliano Bujardini .

Albertinelli’s picturesque style is distinguished by a thorough foreground and volumetric image. The artist uses all the basic techniques, both tempera and oil painting, achieving the greatest expressiveness. Albertinelli intensively overcomes the traditions of medieval painting: the artist takes the construction of the anatomically correct proportions of a person, showing him in movement and space (triptych "Annunciation", "Christmas", "Introduction to the temple"). His best work, The Visit, is at the Uffizi Gallery in Florence .

A masterpiece of independent creativity by Mariotto is a painting that has become, as it were, one of the types of the “Golden Age” - this is famous

"Meeting Mary with Elizabeth" in the Uffizi Gallery. Everything here has a character of maturity: both the exquisite simplicity of the composition based on the figure of the pyramid, and the soft chiaroscuro, perfectly designed in the spirit of Leonardo, or the majestic, calm folds of clothes. If the “decoration” of “Meetings” basically belongs to an earlier style - we have before us a friend from the work of Perugino ( Perugino's scheme was once a remarkable innovation: it is in the architecture of his backgrounds that he means a huge step forward) a portico on tetrahedral decorated columns - all the same, it is characteristic of a mature artistic taste of Mariotto that he confined himself to this arch alone "almost completely concealed all the other details of the bustling world behind the figures. It can be seen, however, that" maturity "was not yet something completely intrinsic to the art of the master.In the vaunted Vasari “Crucifixion” performed by Mariotto three years later for the Florentine Certosa (1506), the figures are arranged without communication, and the landscape again acquires a completely Peruginian character: we see the “German” city in the background, liquid like grass, saplings, and implausible round rocks in the foreground.

"Expulsion from Paradise" - one of the early works of the painter. In this picture, the Florentine painter at the turn of the century, when his hometown was the center of the greatest artists, shows us the very beginning of the human problem - the punishment for original sin, expulsion from heaven. In an idealistically painted landscape, close-up people follow the direction shown by God's tireless forefinger.

• Madonna and Child with Saints Jerome and Zenobius, 1506 (co-authored with Francesco Francabigio) Louvre
• The meeting of Mary and Elizabeth. 1503. Uffizi
• Annunciation. 1508. (Part of the triptych "Annunciation", "Christmas", "Introduction to the temple"). Munich. Old Pinakothek
• Adoration of the Infant Christ 1497–99 Palatine Gallery (Palazzo Pitti), Florence

• J. Vasari Biographies of the most famous painters, sculptors and architects - M: Terra, 1994, v. 3-4

• Art leisure
• Hollywood. Biographies of the most famous
• Terminartors
• Information Center "Central House of Knowledge"
• Masterpieces of Italian painting
• Albertinelli // Brockhaus and Efron Encyclopedic Dictionary : in 86 volumes (82 volumes and 4 additional). - SPb. , 1890-1907.
•   Wikimedia Commons has media related to Mariotto Albertinelli