LARCIANI, Giovanni di Lorenzo - b. 1484 Firenze, d. 1527 Firenze - WGA

LARCIANI, Giovanni di Lorenzo

(b. 1484 Firenze, d. 1527 Firenze)

Italian painter, active in Florence, known earlier as the Master of the Kress Landscapes. The identity of this master has only recently been established in the mid-1990s as the Florentine Giovanni di Lorenzo Larciani. The artist’s oeuvre had been reconstructed around a set of three spalliere panels from the Kress collection and now in the National Gallery of Art, Washington. It has been suggested that Larciani had been an assistant in Francesco Granacci’s workshop at the beginning of his career.

Larciani was ten years younger than either Granacci or Fra Bartolomeo, two artists with whom he might be confused. Nevertheless, his style is not only recognisable but inventive. His rather nervous drawing, bordering on the bizarre, his vibrant palette of colours and his sensual ‘impasto’ constitute a remarkable contribution to the increasingly exuberant exploratory work led by the Florentine artists in the 1520s after the death of the great Raphael, which seems to herald the work of Pontormo and Rosso Fiorentino.

Crucifixion
Crucifixion by

Crucifixion

This small private devotional panel has only recently been attributed to Giovanni di Lorenzo Larciani, an early 16th century Florentine Mannerist painter, a contemporary of other Florentine Mannerist painters such as Andrea del Sarto and Franciabigio.

Scenes from a Legend
Scenes from a Legend by

Scenes from a Legend

This painting is one of the three scenes in the Samuel H. Kress Collection after which the painter was named as the Master of the Kress Landscapes.

Virgin and Child
Virgin and Child by

Virgin and Child

This painting shows the Madonna and Child in a landscape with the Infant Saint John the Baptist. It betrays the influence of Francesco Granacci. The figure of St John recurs in a number of Granacci’s paintings of the same subject.

Virgin and Child
Virgin and Child by

Virgin and Child

In this panel, the artist has set his two figures against one of his characteristic landscapes. Most striking is the exotic, stylised arrangement of palm leaves rising up dramatically behind the Virgin’s head.

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