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Francesco Furini

Paintings

Francesco Furini Painting - Abigail Before David by Francesco Furini

Abigail Before David

Francesco Furini Painting - Sophonisba by Attributed to Francesco Furini

Sophonisba

 Painting - Narcissus by Attributed to Francesco Furini

Narcissus

 Painting - Generosity Or Liberality by Francesco Furini

Generosity Or Liberality

Francesco Furini

Allegory of Peace

Francesco Furini

The Birth of Rachel

Francesco Furini

Hylas and the Nymphs

Francesco Furini

Judith and Holofernes

Francesco Furini

Lot and his Daughters

Francesco Furini

Samson and Delilah

Francesco Furini

St John the Evangelist

Francesco Furini

The Three Graces

Francesco Furini

Venus Mourning the Death of Adonis

Francesco Furini

La Fe

Francesco Furini

Artemisia Prepares to Drink the Ashes of her Husband, Mausolus.

Francesco Furini

Clio

Francesco Furini

Adam and Eve

Francesco Furini

Cephalus and Aurora

Francesco Furini

Gyges in the bedroom of King Candaules, listed as Reclining Venus

Francesco Furini

St. Agatha

Francesco Furini

Ecstasy of St. Charles Borromeo

Francesco Furini

David and Goliath

Francesco Furini

The Three Graces

Francesco Furini

The repentant Mary Magdalene

Francesco Furini

Andromeda

Francesco Furini

Erato

Francesco Furini

The Penitent Magdalene

Drawings

 Drawing - Female Figure. Expulsion Of Eve From Paradise by Francesco Furini

Female Figure. Expulsion Of Eve From Paradise

Francesco Furini

Allegories of painting and poetry

Francesco Furini

Girl head with laurel

Francesco Furini

Seated Youth

Francesco Furini

Female Nude

Francesco Furini

Female nude torso

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Famous Artists - The Three Graces by Francesco Furini

The Three Graces

Francesco Furini (c. 1600 (or 1603) – August 19, 1646) was an Italian Baroque painter of Florence.
His early training was by Matteo Rosselli (whose other pupils include Lorenzo Lippi and Baldassare Franceschini), though Furini is also described as influenced by Domenico Passignano and Giovanni Biliverti. He befriended Giovanni da San Giovanni. Traveling to Rome 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 the Allegory 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.[3] 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.[4]
References

Cantelli, 1972
Wittkower, p. 1993:345
Stanghellini, Francesco Furini, Vita d'Arte 13 [1913).

The exhibition catalogue by Giuseppe Cantelli , Disegni di Francesco Furini e del suo ambiente (Florence: Oschki) 1972. Cantelli attributed seventy-two drawings in the Uffizi to his hand. Documents published by Gino Corti in Antichità Viva (Match-April 1971) appeared too late to be assimilated in the exhibition. Soon after, A. Barsanti recovered more biographical detail to flesh out the modest armature of dates in "Una vita inedita del Furini", Paragone 289, (1974), pp. 67-86.

Sources

Cantelli, G., & Furini, F. (1972). Disegni di Francesco Furini: e del suo ambiente. Firenze: Olschki. OCLC 2045642
Freedberg, Sydney J. (1993). Pelican History of Art, ed. Painting in Italy, 1500-1600. pp. 344–345 Penguin Books Ltd.
Web Gallery of Art entry.
Wittkower, Rudolf (1993). Pelican History of Art, Art and Architecture Italy, 1600-1750. 1980. Penguin Books Ltd. p. 345.

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