弗朗切斯科.富里尼Francesco Furini

弗朗切斯科.富里尼Francesco Furini（1600年——1646年8月19日），意大利画家。

中文名弗朗切斯科.富里尼
外文名Francesco Furini
性别男
国籍意大利
出生地弗洛伦斯
出生日期1600年
逝世日期1646年8月19日

传记

他早期的训练马特奥Rosselli(其他学生的洛伦佐里皮和博得塞尔Franceschini),尽管Furini也形容为影响多梅尼科Passignano和乔凡尼Biliverti.他结识了乔凡尼达圣乔凡尼。前往罗马1619年,他也会受到的影响卡拉瓦乔和他的追随者。在他的学生中有西蒙Pignoni和Giovanni Battista Galestruzzi。四十岁时,他成为了一个教区牧师的桑特'Ansano Mugello。

Furini的作品反映了保守,所面临的紧张矫揉造作者弗洛伦斯当面对小说的风格巴洛克式的风格。他是一个画家的圣经和神话的定位球强烈的迷雾中的使用晕涂法技术。在1630年代,当他成为一位牧师,他的风格的平行圭多雷尼.

Freedberg形容Furini的风格充满了“病态的性感”。他经常与他的过度使用脱下女性是不和谐的宗教情感,和他的因袭和姿势与他的目标表达高度的情绪状态。他的文体的选择没有注意到身边更多的清教徒式的当代传记作家Baldinucci。Pignoni在他的作品也反映了这种风格。

他的一个杰作,而不是反映他的油画的风格,是空气的壁画宫殿彼蒂,那里的秩序费迪南·德·美第奇,在1639 - 1642之间,Furini壁画两大半月形描绘柏拉图学院Careggi寓言的洛伦佐的华丽的死亡。壁画可以视为一个回应彼得罗达Cortona在工作中,他的宫殿这些年(Cantelli 1972)。

在罗特·布朗宁的一系列诗题为谈判与某些人的重要性,诗人设想一个解释Furini,驳斥了发布的断言菲利波Baldinucci(在他临死的时候)他下令所有裸体画被摧毁。布朗宁,Furini disrobement臣民的象征是一个勇敢的寻找隐藏的真相。现代研究表明Furini没有放弃他的绘画主题进入祭司。

Furini早在20世纪初就被发现了阿图罗Stanghellini(它).穿着暴露记录生涯被埃琳娜画Toesca(Furini,1950)和成为关注焦点的展览他的图纸乌菲兹,1972年。

English Introduction

Biography

His early training was by Matteo Rosselli (whose other pupils include Lorenzo Lippi andBaldassare Franceschini), though Furini is also described as influenced by Domenico Passignano and Giovanni Biliverti.He befriended Giovanni da San Giovanni. Traveling toRome in 1619, he also would have been exposed to the influence of Caravaggio and his followers. Among his pupils are Simone Pignoni and Giovanni Battista Galestruzzi. At the age of forty, he became a priest for the parish of Sant'Ansano in Mugello.

Furini's work reflects the tension faced by the conservative, mannerist style of Florence when confronting then novel Baroque styles. He is a painter of biblical and mythological set-pieces with a strong use of the misty sfumato technique. In the 1630s, when he became a priest, his style paralleled that of Guido Reni.

Freedberg describes Furini's style as filled with "morbid sensuality". His frequent use of disrobed females is discordant with his excessive religious sentimentality, and his polished stylization and poses are at odds with his aim of expressing highly emotional states. His stylistic choices did not go unnoticed by more puritanical contemporary biographers like Baldinucci. Pignoni also mirrored this style in his works.

One of his masterpieces, and not reflective of the style of his canvases, is the airy fresco in Palazzo Pitti, where on order of Ferdinando II de' Medici, between 1639–1642, Furini frescoed two large lunettes depicting the Platonic Academy of Careggi and theAllegory of the Death of Lorenzo the Magnificent. The frescoes can be seen as a response to Pietro da Cortona, who was at work in the palazzo during these years (Cantelli 1972).

In Robert Browning's series of poems titled Parleyings with certain people of importance in their day, the poet envisions an explanation by Furini that refutes the published assertion by Filippo Baldinucci that (on his deathbed) he had ordered all his nude paintings be destroyed. For Browning, Furini's disrobement of his subjects is emblematic of a courageous search for the hidden truth. Modern research has demonstrated that Furini did not abandon his sensual painting subjects on entering the priesthood.

Furini was rediscovered in the early 20th century by Arturo Stanghellini (it). His scantily documented career was sketched by Elena Toesca (Furini, 1950) and brought into focus with an exhibition of his drawings at the Uffizi, 1972.

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信息统计与维护

美术百科参考资料

1、Francesco Furini