Article
Newsletter: Fall 1983
Franciabigio (1482/83-1525) first studied with Mariotto Albertinelli and later with Piero di Cosimo. He collaborated with Andrea del Sarto and in his various works reflects the influence of Fra Bartolomeo, Raphael, and Michelangelo.
The portrait, oil on panel, signed in monogram and dated 1516 on the ledge behind which the figure is placed, was at one time thought to be that of the famous goldsmith and medalist Caradosso who worked for several popes, Julius II among them, as well as for Isabella d'Este and Federigo Gonzaga. While such an identification cannot be substantiated, it is indeed a portrait of jeweler holding a slate to test gold in his left hand, a ring in his right, with other rings placed on the ledge. The figure is seen against a lovely landscape.
Allen Rosenbaum observes that it is unusual to find an Italian High Renaissance portrait of such uncompromising realism, undoubtedly reflecting the strong influence of northern painting. It is a portrait of compelling presence and power, a significant addition to the collection and especially valuable for teaching.
The portrait, oil on panel, signed in monogram and dated 1516 on the ledge behind which the figure is placed, was at one time thought to be that of the famous goldsmith and medalist Caradosso who worked for several popes, Julius II among them, as well as for Isabella d'Este and Federigo Gonzaga. While such an identification cannot be substantiated, it is indeed a portrait of jeweler holding a slate to test gold in his left hand, a ring in his right, with other rings placed on the ledge. The figure is seen against a lovely landscape.
Allen Rosenbaum observes that it is unusual to find an Italian High Renaissance portrait of such uncompromising realism, undoubtedly reflecting the strong influence of northern painting. It is a portrait of compelling presence and power, a significant addition to the collection and especially valuable for teaching.
