Andrea Solari

Andrea Solari or Andrea Solario

Paintings

Salome with the Head of Saint John the Baptist

Christ Carrying the Cross

Giovanni Cristoforo Longoni

A Man with a Pink

Christ Blessing

Mater Dolorosa

Salome with the Head of Saint John the Baptist

Giovanni Cristoforo Longoni

The Lute Player

Madonna with the Green Cushion (Maria lactans)

Portrait of Charles d'Amboise

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Andrea Solari (also Solario) (1460–1524) was an Italian Renaissance painter of the Milanese school. He was initially named Andre del Gobbo, but more confusingly as Andrea del Bartolo[1] a name shared with two other Italian painters, the 14th Century Siennese Andrea di Bartolo, and the 15th Century Florentine Andrea di Bartolo.

His paintings can be seen in Venice, Milan, The Louvre and the Château de Gaillon (Normandie, France). One of his better-known paintings is the Virgin of the Green Cushion (c. 1507) in the Louvre (illustrated here).[1]

History

Mary Magdalene went to anoint Christ's dead body, only to discover that he was resurrected. She is shown here transferring the ointment from a maiolica pharmacy jar to a smaller vessel. c. 1524
Virgin of the Green Cushion, 1507-10, Oil on wood (poplar) H. 59.5 cm; W. 47.5 cm, Musée du Louvre.

Solario was born in Milan. He was one of the most important followers of Leonardo da Vinci, and brother of Cristoforo Solari, who gave him his first training whilst employed extensively on work at the Milan cathedral, and at the Certosa di Pavia.[2] In 1490 he accompanied his brother to Venice, where he seems to have been strongly influenced by Antonello da Messina, who was then active in the city. The fine portrait of a Venetian Senator (currently at the National Gallery of London) displays Antonello's plastic conception of form and was probably painted about 1492. The two brothers returned to Milan in 1493. The Ecce Homo at the Poldi-Pezzoli Museum, notable for its strong modelling, may have been painted soon after his arrival.[3]

Solari's earliest dated work is a Holy Family and St. Jerome (at the Brera Gallery), with a fine landscape background, executed at Murano in 1495. The Leonardesque type of the Madonna proves that Andrea after his return from Venice, became strongly influenced by the great Florentine artist, who was then carrying everything before him. To this period of Andrea belong a small Crucifixion (1503, at the Louvre) and the portrait of Charles d'Amboise (Louvre); the portrait of Giovanni Longoni (1505, National Gallery of London); the Annunciation (1506, Fitzwilliam Museum, Cambridge); and the beautiful Virgin of the Green Cushion (Louvre), for which a sensitive drawing of the Virgin's head is in the Ambrosiana at Milan; and the Head of the Baptist in a silver charger (1507, Louvre).

In 1507 Andrea Solari went to France with letters of introduction to the Cardinal of Amboise, and was employed for two years on frescoes in the chapel of his castle of Gaillon in Normandy.[4] According to Giovanni Morelli's suggestion,[5] the artist may have visited Flanders before returning to his native country, and this may account for the Flemish character of his later work.

The artist was back in Italy in 1515, the date of the Flight into Egypt (Poldi-Pezzoli Collection) with its harmonious and detailed landscape background. To this period belong the Procession to Calvary (Borghese Gallery, Rome); the portrait of the Chancellor Domenico Morone (Palazzo Scotti, Milan); and the Woman playing a guitar (at the National Gallery of Ancient Art, Rome).

Andrea's last work was an altarpiece representing The Assumption of the Virgin, left unfinished at his death and completed by Bernardino Campi about 1576.

See also Gallery (below) for a selection of Solari's work.

Works

Portrait of a Young Man, c. 1490, oil on panel, 31x28 cm, Madrid, Thyssen-Bornemisza Museum
Madonna with Child, c. 1495, oil on panel, 30,5x27 cm, Milan, Poldi-Pezzoli Museum
Man with a Pink Carnation, c. 1495, oil on panel, 50x39 cm, National Gallery of London
Christ carrying the cross, 1495–1500, oil on panel, 34x26 cm, Brescia, Pinacoteca Tosio Martinengo
Portrait of a Man, c. 1500, oil on panel, 42x32 cm, Milan, Brera Gallery
Christ crowned with thorns, 1500–1505, oil on panel, 39x31 cm, Bergamo, Accademia Carrara
Head of a Bearded Man, 1500–1510, black, red, and yellow chalk on brownish paper, Metropolitan Museum
Portrait of Giovanni Cristoforo Longoni, 1505, oil on panel, 79x60,5 cm, National Gallery of London
Ecce Homo, 1505–1506, oil on panel, 43x33 cm, Milan, Poldi-Pezzoli Museum
Ecce Homo, 1506-1507, oil on panel, 43x34cm, Belgrade, National Museum of Serbia
Lamentation over the Dead Christ, c. 1505-1507, oil on panel, 168x152 cm, Washington, National Gallery of Art
Ecce Homo, 1505–1507, oil on panel, 57x44 cm, Oxford, Ashmolean Museum
Portrait of Charles d'Amboise, c. 1507, oil on panel, 75x52 cm, Paris, Louvre
The Head of Saint John the Baptist on a Charger, 1507, oil on panel, 46x43 cm, Paris, Louvre
Virgin of the Green Cushion, 1507, oil on panel, 59x48 cm, Paris, Louvre
Christ's flagellation, c. 1509, oil on panel, 63x45 cm, Philadelphia Museum of Art
Madonna with Child, c. 1509, oil on panel, 27,2x27,9 cm, Milan, Poldi-Pezzoli Museum
Woman playing the lute, c. 1510, oil on panel, 65x52 cm, Rome, Palazzo Barberini, Galleria Nazionale d'Arte Antica
St Jerome in the desert, 1510–1515, oil on panel, 69x543 cm, County Durham, Bowes Museum
St John the Baptist; St Anthony, 1512, oil on panel, 16x13 cm each, Milan, Museo Poldi Pezzoli
Christ carrying the cross, 1513, oil on panel, 45,5 x 34 cm, Nantes, Musée des Beaux-Arts
Rest during the Flight to Egypt, 1515, oil on panel, 76x55 cm, Milan, Poldi-Pezzoli Museum
Salome with the Head of St John the Baptist, 1520–1524, oil on panel, 58,5x57,5 cm, Vienna, Kunsthistorisches Museum
Blessing Christ, c. 1524, oil on panel, 203x130 cm, New York, Metropolitan Museum

References

"The Louvre: Virgin of the Green Cushion". Louvre.fr. Retrieved 2013-07-24.
Cristoforo Solari (c. 1460–1527), also known as il Gobbo (the hunchback), was a distinguished Italian sculptor and architect. Among his work, one of the most famous is the tomb of the dukes Ludovico il Moro and Beatrice d'Este for the Certosa di Pavia, carved between 1497 and 1499.
Public Domain This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). Encyclopædia Britannica (11th ed.). Cambridge University Press.
Demolished during the French Revolution

"''Dictionary of Art Historians'': Giovanni Morelli". Dictionaryofarthistorians.org. Retrieved 2013-07-24.

Bibliography

Gerolamo Biscaro, I Solari da Carona, "Bollettino Storico della Svizzera italiana", XXXIV, Bellinzona (1912), pp. 61–77. (Italian)
David Alan Brown, Andrea Solario, Electa Mondadori, Milan (1987). (Italian)
David Alan Brown, et al., The Legacy of Leonardo: Painters in Lombardy, 1490-1530, Skira, Milan (1999).
Sylvie Béguin (ed.), Andrea Solario en France, catalogue, Paris (1985). (French)
Suida Wilhelm, Leonardo e i leonardeschi, Vicenza (2001). (Italian)

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