Andrea del Sarto

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Sarto, Andrea del

(ändrĕ`ä dĕl sär`tō), 1486–1531, Florentine painter of the High Renaissance. He painted chiefly religious subjects. In 1509 he was commissioned by the Servites to decorate their Cloisters of the Annunziata in Florence. His five frescoes there, illustrating the life of St. Philip, won him the title "the faultless painter." Also in this court are Nativity of the Virgin, Procession of the Magi, and a lunette, Madonna del Sacco. His notable scenes from the life of St. John the Baptist in monotone are in the Cloisters of the Scalzo, Florence, and the Last Supper is in the refectory of the Convent of San Salvi. His oils include two Annunciations, Deposition from the Cross, two Assumptions, Madonna in Glory (Pitti Palace, Florence); Madonna of the Harpies (Uffizi); Holy Family and Charity (Louvre); Holy Family (Metropolitan Mus.); Madonna and Child with St. John (National Gall. of Art, Washington, D.C.); and others in London and Madrid. His paintings consistently exemplify the High Renaissance ideal. Because of the extreme subtlety of his technique, his works tend not to reproduce well in photographs. Toward the end of his career, his representations tended toward mannerismmannerism,
a style in art and architecture (c.1520–1600), originating in Italy as a reaction against the equilibrium of form and proportions characteristic of the High Renaissance.
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. He was the teacher of the great mannerist PontormoPontormo, Jacopo da
, 1494–1556, Florentine painter, one of the creators of mannerism. His real name was Jacopo Carrucci. He studied with Andrea del Sarto, Leonardo da Vinci, Mariotto Albertinelli, and Piero di Cosimo.
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See studies by S. J. Freedberg (2 vol., 1963) and J. Shearman (2 vol., 1965).

Andrea del Sarto:

see Sarto, Andrea delSarto, Andrea del
, 1486–1531, Florentine painter of the High Renaissance. He painted chiefly religious subjects. In 1509 he was commissioned by the Servites to decorate their Cloisters of the Annunziata in Florence. His five frescoes there, illustrating the life of St.
..... Click the link for more information.

Andrea del Sarto


(real name, Andrea del d’Agnolo). Born July 16, 1486, in Florence; died there Sept. 28 (or 29), 1530. Italian painter.

Andrea del Sarto studied under Piero di Cosimo and was influenced by Leonardo da Vinci, Fra Bartolommeo, and Michelangelo. In 1518–19 he painted in Paris. His works in Florence include frescoes for the cloister of the Church of Santissima Annunziata (1510–15), for the Scalzi Monastery (1515–26), and the San Salvi Monastery (late 1520’s). Other works by Andrea are Madonna of the Harpies (1517, Uffizi Gallery, Florence), Madonna and Child With St. Catherine, St. Elizabeth, and John the Baptist (1519, Hermitage, Leningrad) and Portrait of a Sculptor (National Gallery, London).

Andrea’s paintings are marked by clearly spaced composition based on a complex balancing of spatial elements. In many respects, the gentle, poetic spirituality of Andrea’s works was derived from chiaroscuro that united bright and lush fields of color. At the same time, his paintings are distinguished by a certain abstract quality in the rendering of figures and by a tendency to dogmatize the artistic principles of the High Renaissance.


Eliasberg, N. E. Andrea del’ Sarto. [Moscow, 1973.]
Shearman, J. Andrea del Sarto, vols. 1–2. Oxford, 1965.

del Sarto, Andrea

cuckolded Florentine painter; protagonist of Browning’s poem. [Art Hist.: Walsh Modern, 19–20; Br. Lit.: “Andrea del Sarto” in Norton, 778–783]
References in periodicals archive ?
There the young Andrea del Sarto co-opted contributions on Marian themes from the neophytes Pontormo and Rosso.
Andrea del Sarto is described by Vasari as endowed by nature with her rarest gift in all three branches of painting--colouring, design, and invention.
His repertoire of over 80 works also comprised the works of Donizetti, Verdi and Puccini, as well as many personal favorites such as Tchaikovsky's Lensky (Yevgeny Onegin) and Gluck's Pylades in Iphigenie en Tauride (opposite both Regine Crespin and Rita Gorr), and several contemporary works such as Lesur's Andrea del Sarto, which he created.
Elizabeth took off her corsets in the heat and slyly returned the waiters' smiles in between sips of Chianti, while Robert (who had earlier detested Florence) was inspired to write his fine poem Andrea del Sarto.
Harold Bloom in a dust-jacket blurb credits Richard Howard with being the Robert Browning of our century, a poet who speaks through various personae, historical or imaginary; but the difference is even greater than the similarity, for Browning transformed Rabbi Ben Ezra and Andrea del Sarto into masks of himself, whereas Howard erects papier-mache figures that are neither themselves nor himself, a parade of hollow men and women who seem like bloodless ghosts speaking, not believable characters.
Physically, he resembles one of the dark-haired, pale-skinned young men often pictured in portraits by the Renaissance painter Andrea del Sarto.
and the consciousness of failure with which Andrea del Sarto punishes
Among his many additions to the Worcester Art Museum are works by major masters including Andrea del Sarto, Frans Hals and Judith Leyster.
As the author examines the work of twelve painters, Perugino, Leonardo, Hero di Cosimo, Michelangelo, Fra Bartolomeo, Ridolfo Ghirlandaio, Andrea del Sarto, Franciabigio, Rosso Fiorentino, Pontormo, Salviati, and Vasari, he observes a dichotomy of style between innovative and conservative painters.
The frescoes from the atrium of Santissima Annunziata have always seemed pale shadows of their former glory, but newly restored and transported to the Strozzi, these works by Andrea del Sarto, Pontormo and Rosso now stand out strongly.
Paintings by Uccello, Ghirlandajo, Piero della Francesca, Andrea del Sarto, and Veronese are nicely reproduced but dealt with only routinely to document a point in a sentence or two.