Formato carta

Guida alle opere degli studenti

Santa Margherita

Nome Classe Data

mario balassi, Santa Margherita. Di pubblico dominio.

Dettagli dell'opera

Artista
mario balassi wahooart.com/it/artists/mario-balassi/
Date dell'artista
1604 – 1667
Dimensioni originali
96 x 73 cm

Nel contesto

Santa Margherita — mario balassi

Dimensioni

Le dimensioni originali sono 96 × 73 cm (altezza × larghezza), qui rappresentate accanto a un adulto di statura media.

Data presunta di realizzazione

  1. 1600
  2. 1610
  3. 1620
  4. 1630
  5. 1640
  6. 1650
  7. 1660

Shaded: la vita di mario balassi (1604–1667)

L'anno esatto di questo disco non è disponibile nei nostri archivi: basandoti sulla vita dell'artista e sullo stile dell'opera, a quale decennio penseresti?

Opere simili

Scegli un'opera tra quelle sopra elencate: indica due elementi in comune con quest'ultima e una differenza.

Altre opere da affiancare a questa: wahooart.com/it/art/similar/mario-balassi-santa-margherita-AQR9BM-en/

Palette colori

Rilevato dall'immagine

    Colore principale

    Black #141216

    Tavolozza salvata

    • #141216
    • #C6B592
    • #736753
    • #483D35
    Palette
    Earthy La gamma cromatica dominante nell'immagine.
    Colore principale
    Black
    Intensità
    Monochromatic La saturazione e la varietà dei colori, da una singola tonalità tenue a molteplici sfumature vivaci.
    Contrasto
    Statement Quanto i colori differiscano in luminosità e saturazione nell'intera opera.
    Armonia
    Balanced Harmony L'armonia cromatica, dall'accostamento contrastante all'unione completa.
    Luminosità
    Deep_shadow Il grado di luminosità o di oscurità complessiva dell'immagine, dalle ombre profonde ai punti di massima luce.
    Saturazione
    Muted Quanto siano puri e intensi i colori, dal quasi grigio al pienamente vivido.

    Artista e museo

    Artista

    mario balassi

    Mario Balassi: A Florentine Baroque Visionary

    Mario Balassi (1604 – 1667) stands as a pivotal figure in the Florentine Baroque, embodying the synthesis of humanist ideals and artistic innovation that characterized the era. Born into a family steeped in mercantile tradition, Balassi’s early life fostered an appreciation for both commerce and culture—a duality that would profoundly shape his artistic trajectory. His formal education commenced with Jacopo Ligozzi, a Venetian artist who instilled in him a grounding in classical principles and compositional rigor. This formative influence quickly broadened when he transitioned to the atelier of Matteo Rosselli, where he honed his skills alongside luminaries like Giovanni Battista Baldinelli and Alessandro Gaddi, absorbing the stylistic nuances of Veronese and Bolognese painting.

    Early Influences: Ligozzi’s emphasis on disegno (drawing) contrasted sharply with Rosselli's focus on colore (color), establishing a dual aesthetic that would permeate Balassi’s oeuvre.

    Rosselli’s Atelier: The Rosselli workshop fostered collaboration and experimentation, exposing Balassi to diverse artistic viewpoints and techniques.

    Passignano & Rome: Recognizing the importance of papal patronage and artistic advancement, Balassi sought guidance from Domenico Passignano, relocating to Rome in 1630 where he joined Passignano’s studio and worked under Pope Urban VIII. This period witnessed a significant maturation of his style, marked by an increasing mastery of chiaroscuro and a heightened sensitivity to expressive color palettes.

    Notable Commissions & Artistic Achievements

    Balassi's artistic reputation soared during his time in Rome, fueled by commissions from influential patrons like Taddeo Barberini—specifically the ambitious undertaking of a copy of Raphael’s Transfiguration, which garnered considerable acclaim for its technical brilliance and stylistic fidelity. Passignano himself lauded Balassi’s accomplishment, asserting that “he had not copied it, but detached it from Raphael’s painting,” demonstrating Balassi's ability to reinterpret classical models with originality and nuance. However, his career wasn’t without setbacks; he faced disappointment when Michelangelo Buonarroti refused to entrust him with the depiction of Christ’s crucifixion—a decision that prompted him to return to Florence.

    Raphael Copy: The Transfiguration exemplifies Balassi's meticulous attention to detail and his profound understanding of Raphael’s compositional strategies.

    Florence Altarpieces: Balassi produced a remarkable series of altar paintings for Florentine churches, including St. Francis of Assisi at the Compagnia delle Stimmate and St. Nicholas of Tolentino Resuscitates the Birds—works characterized by dramatic lighting and emotionally resonant depictions of religious subjects.

    St. Augustine & Sant’Agostino: Balassi's frescoes in Sant’Agostino showcase his masterful use of color and texture, conveying a palpable sense of spiritual fervor.

    Style & Technique – A Synthesis of Influences

    Balassi’s artistic style reflects the complex interplay between Venetian Mannerism and Florentine Baroque aesthetics. He skillfully blended disegno with colore, achieving a harmonious balance that distinguishes his paintings from more purely decorative works. His compositions are often characterized by pyramidal structures—a technique borrowed from Leonardo da Vinci—which lend stability and grandeur to his scenes. Furthermore, Balassi’s meticulous observation of nature—evident in the depiction of foliage and drapery—demonstrates an unwavering commitment to realism. He was particularly adept at capturing fleeting moments of emotion and conveying spiritual depth through expressive gestures and facial expressions.

    Legacy & Historical Significance

    Mario Balassi died in Florence on October 9, 1667, leaving behind a substantial body of work that continues to inspire admiration for its artistic merit and intellectual sophistication. His paintings stand as testament to the flourishing Baroque culture of Florence—a period marked by papal patronage, humanist scholarship, and an unprecedented surge in artistic creativity. Balassi’s contribution to Florentine art history is undeniable; he solidified the city's reputation as a center of artistic excellence and cemented his place among the foremost painters of his time. His legacy persists today through reproductions of his masterpieces—allowing viewers worldwide to experience firsthand the beauty and power of Florentine Baroque vision.

    Dove approfondire

    Scoprilo online

    Codice QR che rimanda alla pagina di download per Santa Margherita

    wahooart.com/it/art/download/mario-balassi-santa-margherita-AQR9BM-en/

    Citazione dell'opera

    MLA
    balassi, mario. Santa Margherita. n.d., https://wahooart.com/it/art/mario-balassi-santa-margherita-AQR9BM-en/
    APA
    balassi, mario (n.d.). Santa Margherita [Painting]. https://wahooart.com/it/art/mario-balassi-santa-margherita-AQR9BM-en/
    Chicago
    mario balassi. Santa Margherita. n.d. https://wahooart.com/it/art/mario-balassi-santa-margherita-AQR9BM-en/
    Harvard
    balassi, mario (n.d.) Santa Margherita. Available at: https://wahooart.com/it/art/mario-balassi-santa-margherita-AQR9BM-en/

    Osserva da vicino

    Santa Margherita — mario balassi

    Un sguardo ravvicinato

    Rispondi con parole tue. Non esistono risposte errate — solo risposte che puoi spiegare.

    1. Cosa ti colpisce per primo, e perché?
    2. Quali colori o forme creano l'atmosfera — e di che atmosfera si tratta?
    3. Rivedi Queen of Armenia, poco prima in questa guida. Indica due elementi che condivide con quest'opera e uno che la differenzia.
    4. Cosa potrebbe aver voluto trasmetterti l'artista?
    5. Se potessi porre all'artista una sola domanda su quest'opera, quale sarebbe?

    La tua risposta

    Scrivi un breve paragrafo su quest'opera, utilizzando le informazioni contenute nelle sezioni precedenti di questa guida e le risposte fornite in precedenza.