Editing Mariotto Albertinelli (section)

==Life and work==
Albertinelli was born in [[Florence]] to a local [[goldbeater|gold beater]]. He was a pupil of [[Cosimo Rosselli]], in whose workshop he met Baccio della Porta, later known as [[Fra Bartolomeo]]. The two were so close that in 1494 they formed a "compagnia," or partnership, in which they operating a joint studio and divided the profits of anything produced within it. The partnership lasted until 1500, when Baccio joined the Dominican order and spent two years in cloister. 
[[File:Albertinelli Franciabigio Vièrge et saints.jpg|thumb|left|280px|''Madonna and Child with Saints Jerome and Zenobius'', 1508. Paris, Louvre.]]

At the beginning of his career Albertinelli was placed on retainer by [[Alfonsina Orsini]], the wife of [[Piero the Unfortunate|Piero II de’ Medici]] and mother of [[Lorenzo de' Medici, Duke of Urbino|Lorenzo II de' Medici]].<ref>{{Cite book|last=Tomas|first=Natalie|title=The Medici women: gender and power in Renaissance Florence|publisher=Routledge|year=2017|location=Aldershot}}</ref> His works from this period all small-scale works executed in a minute, delicate technique and a style derived from the works of Rosselli's main pupil [[Piero di Cosimo]] as well as [[Lorenzo di Credi]] and [[Perugino]]. Like many Florentine painters, Albertinelli was also receptive to the influence of contemporary Flemish painting.<ref name="bor" /><ref name="cate">[http://libmma.contentdm.oclc.org/cdm/compoundobject/collection/p15324coll10/id/187505/rec/4 Federico Zeri, with the assistance of Elizabeth E. Gardner, ''Italian Paintings: Florentine School''], The Metropolitan Museum of Art, pp. 188–189</ref>

Albertinelli's earliest works include a small triptych of the ''Madonna and Child with Saints Catherine and Barbara'' (1500) at the [[Museo Poldi Pezzoli]], Milan, and another triptych of the Madonna and Child with Saints, Angels and Various Religious Scenes at the Musée des Beaux-Arts in [[Chartres]]. The several panels with ''Scenes from Genesis,'' at the [[Courtauld Gallery|Courtauld Institute]] in London, [[Strossmayer Gallery of Old Masters|Strossmayer Gallery]] in [[Zagreb]], [[Accademia Carrara di Belle Arti di Bergamo|Accademia Carrara]] in [[Bergamo]] and [[Harvard Art Museums]] in [[Cambridge, Massachusetts|Cambridge]], probably also date from this period.<ref name="bor" />

In 1503 Albertinelli signed and dated his best-known work, an altarpiece for the chapel of Sant'Elisabetta della congrega dei Preti in San Michele alle Trombe, Florence (now in the [[Uffizi]]). The central panel of this work depicts the [[Visitation (Christianity)|Visitation]] and the predella the Annunciation, Nativity, and Circumcision of Christ.<ref name="bor" /> The pyramidal composition, classical background architecture and pronounced contrasts of light and dark make the painting a quintessential example of High Renaissance art.
[[File:Mariotto Albertinelli - Creation and Fall of Man.jpg|thumb|450px|''Creation and Fall of Man'', 1490s. London, Courtauld Gallery.]]

Also in 1503 Albertinelli entered a new partnership with [[Giuliano Bugiardini]], which lasted until 1509, when Albertinelli resumed his partnership with Fra Bartolomeo.<ref name="bor" /> At this point Fra Bartolomeo and Albertinelli practiced similar styles and occasionally collaborated. For example, the ''Kress Tondo'', now in the [[Columbia Museum of Art]], was previously attributed to Fra Bartolomeo but is now thought to be the work of Albertinelli using Fra Bartolomeo's cartoon, or scaled-preparatory drawing.<ref name="sot">[http://www.sothebys.com/en/auctions/ecatalogue/2014/old-master-british-paintings-evening-l14036/lot.17.html Mariotto Albertinelli. ''The Visitation''] at Sotheby's</ref> The ''Annunciation'' at the [[Musée d'Art et d'Histoire (Geneva)|Musée d'Art et d'Histoire]] in Geneva is signed and dated (1511) by both artists. The partnership was terminated in January 1513, as reported in a document stipulating the division of the workshop's properties.<ref>{{Cite journal|last=Borgo|first=Ludovico|date=1974|title=Mariotto Albertinelli's Smaller Paintings after 1512|journal=The Burlington Magazine|volume=116|pages=245–250}}</ref>
[[File:Albertinelli, The Expulsion of Adam and Eve from Paradise, ca. 1514, oil on panel, 56.8 x 55 cm. Strossmayer Gallery of Old Masters, HAZU, Zagreb, Bequest Josip Juraj Strossmayer 1884, SG-95.jpg|thumb|middle|250px|''The Expulsion of Adam and Eve from Paradise'', 1514. Zagreb, Strossmayer Gallery of Old Masters.]]
According to [[Giorgio Vasari]]'s ''[[Lives of the Most Excellent Painters, Sculptors, and Architects|Life]]'' of Albertinelli, the painter lived as a libertine and was fond of good living and women. Albertinelli reportedly had experienced financial problems and operated a tavern to supplement his income as a painter. At the end of his life he was unable to repay some of his debts, including one to [[Raphael]]. His wife Antonia, whom he married in 1506, repaid some of his loans. Among his many students were [[Franciabigio]], [[Jacopo da Pontormo]], and [[Innocenzo di Pietro Francucci da Imola|Innocenzo da Imola]].