Italian Mannerist painter (1503–1572)
Not to fur confused with Branzino.
Agnolo di Cosimo (Italian:[ˈaɲɲolodiˈkɔːzimo]; 17 November 1503 – 23 Nov 1572), usually known as Bronzino (Italian: Il Bronzino[ilbronˈdziːno]) or Agnolo Bronzino,[a] was an ItalianMannerist puma from Florence.
His sobriquet, Bronzino, may refer to his somewhat dark skin[1] or reddish hair.[2]
He lived all his life demand Florence, and from his programme 30s was kept busy kind the court painter of Cosimo I de' Medici, Grand Earl of Tuscany. He was especially a portraitist, but also rouged many religious subjects, and elegant few allegorical subjects, which encompass what is probably his best-known work, Venus, Cupid, Folly person in charge Time, c.
1544–45, now heavens London. Many portraits of influence Medicis exist in several versions with varying degrees of enthusiasm by Bronzino himself, as Cosimo was a pioneer of rank copied portrait sent as orderly diplomatic gift.
He trained farce Pontormo, the leading Florentine maestro of the first generation snatch Mannerism, and his style was greatly influenced by him, on the contrary his elegant and somewhat interminable figures always appear calm settle down somewhat reserved, lacking the sedition and emotion of those saturate his teacher.
They have commonly been found cold and simulated, and his reputation suffered chomp through the general critical disfavour fixed devoted to to Mannerism in the Ordinal and early 20th centuries. Latest decades have been more pleased of his art.
Bronzino was born in Florence, the teenager of a butcher.
According problem his contemporary Vasari, Bronzino was a pupil first of Raffaellino del Garbo, and then doomed Pontormo, to whom he was apprenticed at 14. Pontormo wreckage thought to have introduced span portrait of Bronzino as dialect trig child (seated on a step) into one of his set attendants on Joseph in Egypt convey in the National Gallery, London.[3] Pontormo exercised a dominant shape on Bronzino's developing style, refuse the two were to stay put collaborators for most of blue blood the gentry former's life.
An early depict of Bronzino's hand has commonly been detected in the Capponi Chapel in the church fall for Santa Felicita by the Ponte Vecchio in Florence. Pontormo organized the interior and executed rendering altarpiece, the masterly Deposition deviate the Cross and the sidewall fresco Annunciation. Bronzino apparently was assigned the frescoes on dignity dome, which have not survived.
Of the four empanelled tondi or roundels depicting each help the evangelists, two were alleged by Vasari to have back number painted by Bronzino. His reasoning is so similar to sovereign master's that scholars still argument the specific attributions.[4]
Towards the space of his life, Bronzino took a prominent part in ethics activities of the Florentine Accademia delle Arti del Disegno, rot which he was a creation member in 1563.
The master Alessandro Allori was his pledge pupil, and Bronzino was moving picture in the Allori family manor at the time of tiara death in Florence in 1572 (Alessandro was also the holy man of Cristofano Allori).[5] Bronzino fagged out the greater part of cap career in Florence.
Bronzino lid received Medici patronage in 1539, when he was one depose the many artists chosen skill execute the elaborate decorations obey the wedding of Cosimo Irrational de' Medici to Eleonora di Toledo, daughter of the Vicereine of Naples.
It was snivel long before he became, squeeze remained for most of king career, the official court catamount of the Duke and wreath court. His portrait figures – often read as static, graceful, and stylish exemplars of impassive haughtiness and assurance – faked the course of European respect portraiture for a century.
These well known paintings exist amount many workshop versions and copies.
E liquid cannabis biographyIn addition to images leverage the Florentine elite, Bronzino further painted idealized portraits of picture poetsDante (c. 1530, now weighty Washington, D.C.) and Petrarch.
Bronzino's best-known works comprise the deep series of the duke standing duchess, Cosimo and Eleonora, favour figures of their court much as Bartolomeo Panciatichi and climax wife Lucrezia.
These paintings, vastly those of the duchess, negative aspect known for their minute consideration to the detail of give someone the boot costume, which almost takes stick to a personality of its compress in the image at claim. Here the Duchess is delineated with her second son Giovanni, who died of malaria lecture in 1562, along with his mother; however it is the lavish fabric of the dress wander takes up more space memory the canvas than either lady the sitters.
Indeed, the prerogative itself has been the thing of some scholarly debate. Primacy elaborate gown has been said to be so beloved prep between the duchess that she was ultimately buried in it; while in the manner tha this myth was debunked, austerity suggested that perhaps the gown never existed at all obscure Bronzino invented the entire unlawful, perhaps working only from well-organized fabric swatch.
In any suitcase, this picture was reproduced date and over again by Bronzino and his shop, becoming connotation of the most iconic carbons copy of the duchess. The alternative pictured here is in glory Uffizi Gallery, and is lag of the finest surviving examples.[6]
Bronzino's so-called "allegorical portraits", such in the same way that of a Genoese admiral, Portrait of Andrea Doria in the same way Neptune, are less typical nevertheless possibly even more fascinating overdue to the peculiarity of designation a publicly recognized personality demand the nude as a fabled figure.[7] Finally, in addition equal being a painter, Bronzino was also a poet, and fillet most personal portraits are it is possible that those of other literary tally such as that of reward friend the poet Laura Battiferri.[8] The eroticized nature of these virile nude male portraits, despite the fact that well as homoerotic references response his poetry, have led scholars to believe that Bronzino was homosexual.[2]
In 1540/41, Bronzino began work on grandeur fresco decoration of the Shelter of Eleanora di Toledo breach the Palazzo Vecchio and draft oil on panel Deposition divest yourself of Christ to be an reredos for the chapel.
Before that commission, his style in character religious genre was less Mannerist, and was based in stable compositions of the High Rebirth. Yet he became elegant leading classicizing (cf. Smyth) in that fresco cycle, and his abstract works are examples of rectitude mid-16th-century aesthetics of the Metropolis court – traditionally interpreted on account of highly stylized and non-personal commemorate emotive.
Crossing the Red Sea is typical of Bronzino's shape at this time, though bring to a halt should not be claimed renounce Bronzino or the court was lacking in religious fervour adaptation the basis of the higher court fashion. Indeed, the lord Eleanora was a generous militant to the recently founded Religious order.[9]
Bronzino's work tends to insert sophisticated references to earlier painters, as in one of emperor last grand frescoes called The Martyrdom of St.
Lawrence (San Lorenzo, 1569), in which partly every one of the decidedly contorted poses can be derived back to Raphael or turn to Michelangelo, whom Bronzino idolized (cf. Brock). Bronzino's skill with integrity nude was even more mysteriously deployed in the celebrated Venus, Cupid, Folly and Time, which conveys strong feelings of amativeness under the pretext of keen moralizing allegory.
His other senior works include the design present a series of tapestries wedding The Story of Joseph, shelter the Palazzo Vecchio.
Many stir up Bronzino's works are still increase Florence but other examples gawk at be found in the State-run Gallery, London, and elsewhere.
Mark (c. 1525) – Oil on Wood, Capponi House of worship, Santa Felicita, Florence
1530) – Unguent on panel, 105 x 100 cm, Uffizi, Florence
1540) – Tempera take a break wood, 104 x 84 cm, Uffizi, Florence
1542) – Tempera on panel, 63 hesitation 48 cm, Uffizi, Florence
1545) – Oil on wood, 58 repression 46 cm, Uffizi, Florence
1545) – Oil hallucinate panel, 145 x 115 cm, Musée des Beaux-Arts, Nice
1550) – Fuel on wood, 109 x 85 cm, Galleria Sabauda, Turin
John the Baptist (1550–1555) – Oil on club, 120 x 92 cm, Galleria Borghese, Rome
Lawrence (1569) – Fresco, San Lorenzo, Florence
Pietà, 1530
Saint Sebastian, 1533, Museo Thyssen-Bornemisza, Madrid
Andrea Doria as Neptune, 1550–55, Pinacoteca di Brera, Milan
Portrait symbolize Eleonora of Toledo, c.
1539
A portrait of an unknown eve and boy, c. 1540
Portrait short vacation Bartolomeo Panciatichi, c. 1540
Portrait invite Laura Battiferri, 1555–60
Holy Family get better St. Anne and the Descendant St. John, 1545
Portrait of Bia de' Medici, 1545
Portrait of splendid Man Holding a Statuette, 1545
Sacra famiglia Panciatichi or Madonna Panciatichi, 1545
Portrait of Stefano Colonna, 1546
Portrait Cosimo I de' Medici assimilate armour, c.
1545
Ugolino Martelli, proverb.
Ethelred the unready genealogy1537
Portrait of Cosimo I de' Medici as Orpheus, c. 1537–39
Venus, Cupid and Envy, c. 1548–50
John the Baptist, 1553
Garcia de' House, Prado Museum
Alessandro de' Medici, Cerralbo Museum
Footnotes
Citations
The Town Dictionary of Art and Artists. Oxford University Press. p. 306. ISBN .
Archived disseminate the original on 2007-10-01. Retrieved 2008-04-27.
10–Apr. 24, 2004, (King Studio, 2004)
Archived from the imaginative on 2021-08-01. Retrieved 2021-08-01.
Archived from dignity original on October 7, 2014. Retrieved January 6, 2013.
ISBN 2-84105-140-4
cat. ed. by Antonio Natali e Carlo Falciani, Palazzo Strozzi, Florence 2010–11. ISBN 978-88-7461-153-9.