By the 1540s he was regarded as one of the premier portrait painters in Florence. An early example of Bronzino's hand has often been detected in the Capponi Chapel in the church of Santa Felicita by the Ponte Vecchio in Florence. Pontormo designed the interior and executed the altarpiece, the masterly Deposition from the Cross and the sidewall fresco Annunciation. Bronzino was born in Florence, the son of a butcher. Toperfect will take appropriate legal action in the piracy and infringements of copyright. Much of his success can be attributed to his formative training under the great 1494-1556 , one of the pioneering of the cinquecento. John Pope-Hennessy has suggested the portrait may have been painted to commemorate Andrea Doria's occupation of Tunis in 1535.
A medal by Leone Leoni, also showing Doria as Neptune, places him in a more narrative context, whereas Agnolo Bronzino's allegorical figure is reminiscent of the statuesque plasticity of a Michelangelo. Doria's wish to give himself mythological stature is not perhaps the most surprising aspect of this portrait; even more conspicuous is his self-conscious exhibition of nudity, his apparent obsession with virility. He also created mythological paintings such as The Allegory of Luxury also called Venus, Cupid, Folly, and Time; c. Towards the end of his life, Bronzino took a prominent part in the activities of the Florentine , of which he was a founding member in 1563. Bronzino's best known works comprise the aforementioned series of the duke and duchess, and , and figures of their court such as Bartolomeo Panciatichi and his wife.
Bronzino's pupils included Alessandro Allori 1535-1607 , who became one of the leading Florentine painters of the late , and whom Bronzino adopted in a replication of his own relationship with Pontormo. The painter Alessandro Allori was his favourite pupil, and Bronzino was living in the Allori family house at the time of his death in Florence in 1572 Alessandro was also the father of Cristofano Allori. Thus the year of Bembo's elevation to the rank of cardinal may help us date the portrait, since the artist himself has left only his signature. 1533 Kunsthistorisches Museum, Vienna. It was not long before he became, and remained for most of his career, the official court painter of the Duke and his court.
The picture symbolizes the consequences of unchaste love. Bronzino spent the majority of his career in Florence. Some of the figures are clearly inspired by Michelangelo or Pontormo, as well as by the ancient statue sculpture. Widowed at an early age, Laura married her second husband, the Florentine sculptor Bartolommeo Ammanati, in 155C. In 1530 Bronzino moved to Pesaro, where he briefly painted frescoes in the Villa Imperiale before returning to Florence in 1532.
He trained with Pontormo, the leading Florentine painter of the first generation of Mannerism, and his style was greatly influenced by him, but his elegant and somewhat elongated figures always appear calm and somewhat reserved, lacking the agitation and emotion of those by his teacher. Portrait of a Young Man, c. Bronzino apparently was assigned the frescoes on the dome, which however have not survived. Moving away from the more flowing lines of his master, he created works that had a much stiller atmosphere, with carefully posed figures and an enamel-like finish. Agnolo di Cosimo November 17, 1503 -- November 23, 1572 , usually known as Il Bronzino, or Agnolo Bronzino mistaken attempts also have been made in the past to assert his name was Agnolo Tori and even Angelo Agnolo Allori , was an Italian Mannerist painter from Florence. Bronzino studied separately under the Florentine painters Raffaellino del Garbo and before beginning his career as an artist.
Giorgio Vasari Lives of the Most Eminent Painters Sculptors and Architects Art in Tuscany Art in Tuscany Giorgio Vasari Volume X download pdf Agnolo Bronzino, Cappella di Eleonora detail Bibliography Maurice Brock, Bronzino, Edition du Régard, Paris 2002. It was painted with the most expensive and has a flawless surface, typical of Bronzino's style. His sobriquet, Bronzino, in all probability refers to his relatively dark skin. Background Bronzino, worked at the court of the Duke of Florence - Cosimo de' Medici 1519-74 , later appointed Grand Duke of Tuscany by Pope Pius V. Bronzino's skill with the nude was even more enigmatically deployed in the celebrated Venus, Cupid, Folly and Time, which conveys strong feelings of eroticism under the pretext of a moralizing allegory. Towards the end of his life, Bronzino took a prominent part in the activities of the Florentine Accademia delle Arti del Disegno, of which he was a founding member in 1563.
Other characters embody concepts associated with the dangers of physical love. Bronzino served as the court painter to Cosimo I, duke of Florence, from 1539 until his death. His left hand is supported by a book by Pietro Bembo 1470-1547 , whom Martelli's contemporaries would have considered the most erudite of humanist scholars. In any case, this picture was reproduced over and over by Bronzino and his shop, becoming one of the most iconic images of the duchess. His Eleonora of Toledo with Her Son Giovanni and Portrait of a Young Girl with a Prayer Book c. He received his first commission from the Medici family in 1539, when he assisted in the elaborate decorations for the wedding of Cosimo I de' Medici to Eleonora di Toledo.
Bronzino's greatest works include Portrait of Lucrezia Panciatichi 1540, Uffizi Gallery, Florence ; Allegory with Venus and Cupid 1545, National Gallery, London and the Deposition of Christ 1549, Museum of Fine Arts, Besancon. This is perhaps Bronzino's best-known work, and has been the subject of a great deal of discussion and disagreement about the central figures who form a complex allegory, the meaning of which is still not clear. Agnolo Bronzino is considered the master of Florentine Mannerism. The painter Alessandro Allori was his favourite pupil, and Bronzino was living in the Allori family house at the time of his death in Florence in 1572 Alessandro was also the father of Cristofano Allori. Bronzino's best known include those of Cosimo and Eleonora, along with courtiers like Bartolomeo Panciatichi and his wife Lucrezia.
The Olivetan community traces its foundation to 1313. . Signorelli's paintings were executed in 1497-98, while Sodoma's date to 1505 afterwards. His style is so similar to his master's that scholars still debate the specific attributions. Laura Battiferri, a supporter of the Jesuitical Counter-Reformation, was reputed to have been a devout Catholic. His particular style of - which remained consistent across the genres - was deliberately cool and erudite, so as to appeal to a cultured, courtly audience that enjoyed visual puzzles.