Il Rosso

[ilrossofiorentino]

"For it was Rosso's custom in his oil-sketches to give a sort of savage and desperate air to the face, after which, in finishing them, he would sweeten the expressions and bring them to a proper form. At this the patron fled from his house and would not have the picture, saying that the painter has cheated him".

Vasari

[ilrossofiorentino]

Pietá, 1540, Fontainebleau, France.

One of my most recent works...FOR THE KIND OF FRANCE

For this painting i stuck to my limited color pallet, this time ranging from orange to blue-green to red-violet, repeating them throughout the composition. As the scattered light hits each color, it manipulates each color in a unique way. Same as my last post, the colors and hues are treated differently in light and shadow, blending my two modes of modeling. I think I have finally found my style as a painter and as a colorist.

[ilrossofiorentino]

Deposition from the Cross, 1527, Sansepolcro, San Lorenzo.

For this version of the Deposition, I really wanted to represent and emphasize the eclipse that took place during Christ’s death this time. what do you all think? better or worse than the green one? 

I tried something new and combined my different methods of modelings. the background is painted in chiaroscuro, using neutral reds, while the figures in the foreground are painted using changes in color and saturation. I focused the harsh light in a circular pattern, wrapping around the Virgin Mary and Christ and emphasizing them. I wanted to use color and light to manipulate and intertwine the different forms. 

[ilrossofiorentino]

Deposition from the Cross, 1521, Volterra, Pinacoteca Civica. 

Playing around with composition here, I wanted to portray an aspect of this scene that the Gospels do not even mention, the body of christ almost slipping from the hands of the deposers. I took inspiration from the body of Christ in Michelangelo’s Pietá while traveling in Rome between 1518-1521. 

The red and violet colors contrast the orange and green. The repeating color scheme creates a a sort of unity and emphasis throughout the painting, which stands out against the opaque background. 

Instead of employing chiaroscuro like in my previous painting, here I experimented with the direction and intensity of the lighting. Using the intense lighting to create an abrupt transition in the saturations of hues. This affect fragments and flattens the composition.

[ilrossofiorentino]

1 - Madonna and Child with Two Saints (detail of the putti), 1518, Florence

2 - Madonna Enthroned with Four Saints (detail of the putti), 1518, Florence

Who did it better? and why? (bonus points if you can guess our artist inspiration)

Do you prefer the visual relationship between bodies, with facial expressions and underlying gesture....

...orrrrrrrr do you prefer a more simple composition that plays with classical conventions and that binds figures together?

[ilrossofiorentino]

Cherub Playing a Lute, 1515, 

I wanted to start off with a little throwback painting, this was my first extant panel, comment below if you recognize this painting and have been a follower since the begging. I was playing around with a very deep chiaroscuro, limiting my range of colors to neutrals, reds, and yellows. The encroaching shadow adds intimacy to this piece, in the future I hope to experiment with my use of color on a larger scale 

[ilrossofiorentino]

Hello and welcome to my page!

can’t wait to show you guys how my art has evolved over the years, focusing on how I came to find my style as a painter. I love experimenting with different styles of coloring and shading, eventually combining different techniques to create my own. join me in this journey and lets show people what they were missing!