Bottega Di Francesco Granacci (1469 - 1543), Madonna And Child

Bottega di Francesco Granacci (Villamagna di Volterra, 1469 - Florence, 1543)
Madonna and Child
Oil on panel, cm 83 x 59

The tender sacred image presents the characteristics of that painting made of innovative and experimental ideas that was of the first five hundred florentine. A certain eccentrism and the use of bright colors bring him closer to the most classical works of Francesco Granacci (Villamagna di Volterra, 1469 - Florence, 30 November 1543) and, in a way, Giovanni di Lorenzo Larciani, also known as Kress Landscape Master (1484 - 1527).
Despite the not entirely positive image outlined by Giorgio Vasari, Granacci was instead a protagonist of the modern way in Florence, involved in important works such as the decoration of the Camera Borgherini, shared with leading artists such as Andrea del Sarto and Pontormo.
From his youth, Francesco was close to the most active cultural circles of the city, first at the Garden of San Marco under the aegis of Lorenzo il Magnifico, then in the workshop of the wood-worker and architect Baccio d'Agnolo, with whom artists of the scope of Filippino Lippi, Sangallo, Raphael, and sometimes Michelangelo, discussed arts. It will not be forgotten among those who went to learn the teachings of Masaccio at the Brancacci Chapel, or the new lesson given by Michelangelo with the Battle of Cascina, cartoon that he could study together with a few others with the permission of the master.
In 1508 he was called to Rome, together with other artists, as an aid for the transfer of the cartoons on the vault of the Sistine Chapel. Back in Florence he painted the Madonna with Child between Saints Francis and Gerolamo for the convent of the Augustinians of San Gallo (Florence, Galleria dell'Accademia), the Madonna della Cintola for the Company of San Benedetto Bigi, and in 1515 he participated in the construction of the apparatus for the visit to Florence of Pope Leo X; in this same period he produced the Stories of Saint Joseph, commissioned by Francesco Bogherini and today divided between the museums of the Uffizi and Palazzo Davanzati in Florence.
The Madonna with Child and Saint Giovannino of the Museum of Western and Eastern Art in Odessa, dated 1519, allows to define the manner of Granacci in the period when he reaches full stylistic maturity: In these years he abandoned the old fifteenth-century schemes to express a more complex idea of space and movements of figures. Some works dating from 1520 to 1525 show the direct influence of the style of Fra Bartolomeo. The Perugino, on the other hand, inspired the altarpiece with the Virgin Mary and four saints of the gallery of the Academy of Florence, realized around the middle of the third decade of the century. The mannerist experiences bring new solutions to Granacci’s painting, which are manifested especially in works of small format, while in those of larger dimensions the style remains classical.
To the works of Granacci are linked in several occasions the works of Giovanni di Lorenzo Larciani, who borrows found compositions and interpreting them with a personal vein, almost bizarre and eccentric, which was his own and thanks to which he reached considerable heights.
Larciani is also known as the Master of Landscapes Kress, from three delicious tablets of the Kress Collection in the National Gallery in Washington. An eccentric and «eccentric» artist, as Federico Zeri (1962) defined him, he developed anti-academic and bizarre ways in the chromatic and expressive research of the characters, also with caricature results, Starting from classical compositional formulas elaborated on the basis of a deep knowledge of Dürerian graphics.

The object is in good condition

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