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because he was an artist concerned with the minute details of his works. When painting panels, he often used careful techniques that would visually soften the major figures in the paintings. Rossello was excellent at blending colors to the point where his paintings looked almost like relief sculptures. He also used dimensionality in his works. They were typically symmetrical and balanced in ways that defied the inherent flatness of his working surface. In addition, Rossello favored delicate colors, an attribute that distinguishes him as being influenced by
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73:. Three gold fiorinis were also to be given to these institutions. Rossello's codicil was added six years later and was finished only four days before his death. The codicil served to elaborate on restrictions for his heirs. These restrictions came from Rossello's irritation towards his son regarding poor business dealings. Rossello died just four days after the codicil was finished, and his second wife, Mona, died fifteen months after him.
94:. The only other documented time Rossello did an illumination is from 1429 at S. Stefano on a Prato gradual, which he was paid for. From this one miniature, eleven more have been attributed to him. However, the miniatures are often seen as supplementary works because his true focus was on panels and frescoes. The third documented commission from the Bigallo was for frescoes of the Company's patron and founder,
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The same can be said for
Rossello's younger brother, Giunta, who was a painter as well. There is some speculation that there may have been ties to the Arte de Medici e Speziali through a relative. From what scholars have discerned, Rossello's life was that of a hardworking craftsman, with some assets and land, who was dealt his fair share of family troubles and frustrations with his children.
114:. Rossello also embellished his works with jewels, fur-lined garments and other fashions of the time. However, his paintings were never regarded as frivolous, but had more of a richness and debonair quality to them. Stylistically, Rossello di Jacopo Franchi evolved with time but remained true to the details of his work and created a definable style for himself.
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at the family's parish church, S. Romolo. One year later he remarried to Mona
Margherita, the sister of printmaker Giovanni di Piero di Bartolo Landi. Mona Margherita was married off with a dowry of 145 fiorini. Although the two did not have any children, three children from Rossello's previous marriage lived with them: Scolaio, Gismirante, and Palia.
69:. His testament, from 1450, declares that his estate was to be divided equally among his grandsons, Giovanni and Giunta, and any other legitimate children of Gismirante. In the event that any of his heirs had an untimely death, half of the estate was to be given to the S. Maria Nuovo and the other half to the
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Based on documents, it is presumed that
Rossello's father died sometime between 1409 and 1416. However, Rossello himself was married by 1408 and had seven children, four of whom died in 1424 due to a stomach disorder. Two years later, in 1426, his first wife also died and was buried with her children
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The
Bigallo frescoes and the miniatures in the Prato gradual are the basis for the rest of Rossello's works because they are the only two that are signed by Rossello and have complete documentation that include Rossello's name. The rest of his 28 works have been attributed to him based on stylistic
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Rossello di Jacopo
Franchi was born in the year 1376 or 1377. He was most likely the son of Jacopo del Rosso and Catherine. His father and older brother, Nanni, both worked in the textile industry, as a wool-carder and a cloth cutter, respectively. Therefore, his entry into the arts was unexpected.
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Rossello's artistic style evolved through internal development, influences of other artists, and by way of temporal fashions. Rossello is well known for his drapery aesthetic because of his attention to detail and because he includes drapery in most of his paintings. His pieces are recognizable
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painting was a traditional
Florentine painting of a saint who is frontally seated. It is not an innovate painting in form or design. The Saint is enthroned on a gold-embossed pillow before a richly embroidered cloth of honor held by two angels, is a type familiar from trecento painting. Some
85:, a major institution in Florence, Italy. He mainly painted panels and frescoes, which comprise 27 of his 29 known works. He is also documented twice as an illuminator of manuscripts, although he is never referred to as a miniaturist. The first payment made to him by the
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was in 1426 for minor work, which may have included minor repairs of the decorative theme in the oratory. The first record of
Rossello doing an illumination was when he painted figures in a miniature of the Company's
98:. This commission was undertaken with Ventura di Moro. The painting was done in the two western mezzanine bays of the north facade of the building's oratory and has remained there since. Throughout his time at the
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commissioned in 1408 by
Niccolo di Francesco Falcucci, a well known physician. This composition showcased Rossello's early individual style and was constructed very rigidly and systematically. Rossello's
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Rossello di Jacopo
Franchi, whose life spanned 80 years, was actively working in the arts from at least 1404 to 1451. He was trained at the
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Rossello di Jacopo
Franchi: Portrait of a Florentine Painter, CA. 1376-1456.
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The earliest work ascribed to Rossello di Jacopo Franchi was a painting of
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http://www.oxfordartonline.com/subscriber/article/grove/art/T029613
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Rossello died on August 10, 1456, and was buried in the
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259:Anabel Thomas. "Franchi, Rossello di Jacopo."
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