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Francesco del Brina
By Francesco del Brina, Nativity
16th Century

$17,967.55List Price

About the Item

Francesco Del Brina (Florence, 1529 - 1586) Nativity Oil on panel, 70 x 47.5 cm Framed, 80 x 58 cm Critical Record Prof. Alessandro Delpriori The work is not signed Born into a family of artists-his brother Giovanni, with whom he often worked jointly, was an equally prominent figure on the painting scene in Florence in the second half of the sixteenth century-Francesco Del Brina (known alternately as Brina or Brini) trained in the industrious workshop of Ridolfo del Ghirlandaio, one of the most effervescent cultural circles in sixteenth-century Tuscany. Directly following the training of the young Florentine painter is, according to the American scholar Freedberg, one of Ghirlandaio's closest personalities, Michele Tosini, also known as Michele di Ridolfo (Florence, 1503 -1577), from whom he learned the pictorial dictates of Vasarian doctrine, which he followed to the letter throughout his entire production. Vasari himself, from whom Brina deliberately draws inspiration, makes a quick reference, unchanged between the Torrentiniana and Giuntina editions of the Lives, to the activity of the artist, who is presented in the appendix to the life of Grardo miniatore as a "young Florentine painter" who collaborated with Gherardo del Fora in the creation of the fresco on the exterior facade of the church of Sant'Egidio in Florence. Among the most relevant projects regarding the early phase of Francesco's career is certainly that relating to the design of the fittings for Francesco de' Medici's triumphal entry into the city following his wedding to Joan of Austria: there are numerous preparatory sketches for these ephemeral architectures-many of which were exhibited at the acclaimed 1966 Exhibition of Vasarian Drawings at Palazzo Pitti-that show Brina's great technical expertise not only as a painter but also as a draughtsman. The painter was active, between the 1950s and the 1960s, at the Cathedral of San Gimignano, where he produced the lost fresco of the Multiplication of the Loaves and Fishes, and at the Palazzo Vecchio, alongside Vasari's numerous pupils: at this juncture, his hand is indistinguishable. Of particular importance in defining the style of Brina's maturity is a painting signed and dated 1570, the Conception for S. Michele in Visdomini (Paatz, IV, p. 208 n. 42). Although the works attributed to him are not very numerous, those certainly ascribed to him show the artist's ability to intelligently bring together suggestions drawn from Vasari's production and the work of Ridolfo del Ghirlandaio: this is the case with the Holy Family in the Bandini Museum in Fiesole, the Holy Family in the Palatine Gallery, and the Madonna and Saints from the church of SS. Iacopo and Lorenzo and now in the storerooms of the Florentine Galleries. The 1570 altarpiece for S. Michael in Visdomini counts as a fixed point for identifying Francis's style however much the painting is now obscured and deteriorated: a rather archaic culture is revealed there, with frequent references to Andrea del Sarto - the Virgin traces the gesture of Andrea's Madonna in the altarpiece for the Vallombrosian monks, now in Palazzo Pitti -, while the dense composition follows the pattern of the complicated altarpieces of Florentine painting of the time dominated by Vasari, although it rejects its more exaggerated mannerist strains. A combination of these experiences can also be perceived in our table, in which the patterns from the archaizing thrust of Andrea del Sarto and the pastel colors in use since the first half of the sixteenth century are married with the coeval innovations elaborated at the workshops of Ghirlandaio and Vasari.

Creator:
Francesco del Brina (Italian)
Creation Year:
16th Century
Dimensions:
Height: 27.56 in (70 cm)Width: 18.51 in (47 cm)
More Editions Sizes:
70x47 cmPrice: $17,968
Medium:
Oil,Board
Period:
16th Century
Condition:
Gallery Location:
Milan, IT
Reference Number:
1stDibs: LU2639216454622

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