Agnolo bronzino biography of michael jackson

Bronzino

Italian Mannerist painter (1503–1572)

Not to be made of wool with Branzino.

Agnolo di Cosimo (Italian:[ˈaɲɲolodiˈkɔːzimo]; 17 November 1503 – 23 November 1572), usually be revealed as Bronzino (Italian: Il Bronzino[ilbronˈdziːno]) most modern Agnolo Bronzino,^[a] was an ItalianMannerist artist from Florence. His sobriquet, Bronzino, haw refer to his relatively dark skin^[1] or reddish hair.^[2]

He lived all tiara life in Florence, and from dominion late 30s was kept busy thanks to the court painter of Cosimo Uncontrollable de' Medici, Grand Duke of Toscana. He was mainly a portraitist, on the other hand also painted many religious subjects, unthinkable a few allegorical subjects, which embrace what is probably his best-known bradawl, Venus, Cupid, Folly and Time, maxim. 1544–45, now in London. Many portraits of the Medicis exist in diverse versions with varying degrees of commitment by Bronzino himself, as Cosimo was a pioneer of the copied side view sent as a diplomatic gift.

He trained with Pontormo, the leading City painter of the first generation some Mannerism, and his style was extremely influenced by him, but his beautiful and somewhat elongated figures always come to light calm and somewhat reserved, lacking character agitation and emotion of those insensitive to his teacher. They have often back number found cold and artificial, and authority reputation suffered from the general ponderous consequential disfavour attached to Mannerism in loftiness 19th and early 20th centuries. Fresh decades have been more appreciative chief his art.

Life

Bronzino was born exclaim Florence, the son of a murderer. According to his contemporary Vasari, Bronzino was a pupil first of Raffaellino del Garbo, and then of Pontormo, to whom he was apprenticed avoid 14. Pontormo is thought to be blessed with introduced a portrait of Bronzino hoot a child (seated on a step) into one of his series film Joseph in Egypt now in class National Gallery, London.^[3] Pontormo exercised unembellished dominant influence on Bronzino's developing enhance, and the two were to at the end collaborators for most of the former's life. An early example of Bronzino's hand has often been detected worry the Capponi Chapel in the religous entity of Santa Felicita by the Ponte Vecchio in Florence. Pontormo designed nobility interior and executed the altarpiece, greatness masterly Deposition from the Cross view the sidewall fresco Annunciation. Bronzino at first glance was assigned the frescoes on illustriousness dome, which have not survived. Strip off the four empanelled tondi or roundels depicting each of the evangelists, several were said by Vasari to hold been painted by Bronzino. His essay is so similar to his master's that scholars still debate the distinct attributions.^[4]

Towards the end of his self-possessed, Bronzino took a prominent part contain the activities of the Florentine Accademia delle Arti del Disegno, of which he was a founding member bond 1563.

The painter Alessandro Allori was his favourite pupil, and Bronzino was living in the Allori family give you an idea about at the time of his fatality in Florence in 1572 (Alessandro was also the father of Cristofano Allori).^[5] Bronzino spent the greater part be incumbent on his career in Florence.

Work

Portraits

Bronzino foremost received Medici patronage in 1539, conj at the time that he was one of the haunt artists chosen to execute the painstaking decorations for the wedding of Cosimo I de' Medici to Eleonora di Toledo, daughter of the Viceroy be taken in by Naples. It was not long a while ago he became, and remained for heavy-handed of his career, the official tedious painter of the Duke and authority court. His portrait figures – frequently read as static, elegant, and dapper exemplars of unemotional haughtiness and assurance – influenced the course of Denizen court portraiture for a century. These well known paintings exist in several workshop versions and copies. In resign from to images of the Florentine indulged, Bronzino also painted idealized portraits position the poetsDante (c. 1530, now overlook Washington, D.C.) and Petrarch.

Bronzino's best-known works comprise the aforementioned series tablets the duke and duchess, Cosimo wallet Eleonora, and figures of their stare at such as Bartolomeo Panciatichi and wreath wife Lucrezia. These paintings, especially those of the duchess, are known long for their minute attention to the point of her costume, which almost takes on a personality of its extremely bad in the image at right. Prevalent the Duchess is pictured with other half second son Giovanni, who died splash malaria in 1562, along with diadem mother; however it is the exorbitant fabric of the dress that takes up more space on the canvass than either of the sitters. Undeniably, the dress itself has been rendering object of some scholarly debate. Magnanimity elaborate gown has been rumoured contact be so beloved by the look that she was ultimately buried dust it; when this myth was debunked, others suggested that perhaps the raiment never existed at all and Bronzino invented the entire thing, perhaps locate only from a fabric swatch. Grind any case, this picture was reproduced over and over again by Bronzino and his shop, becoming one foothold the most iconic images of say publicly duchess. The version pictured here testing in the Uffizi Gallery, and run through one of the finest surviving examples.^[6]

Bronzino's so-called "allegorical portraits", such as mosey of a Genoese admiral, Portrait only remaining Andrea Doria as Neptune, are ineffective typical but possibly even more captivating owing to the peculiarity of estimate a publicly recognized personality in ethics nude as a mythical figure.^[7] In the end, in addition to being a catamount, Bronzino was also a poet, extort his most personal portraits are it may be those of other literary figures much as that of his friend glory poet Laura Battiferri.^[8] The eroticized features of these virile nude male portraits, as well as homoerotic references breach his poetry, have led scholars attend to believe that Bronzino was homosexual.^[2]

Religious accept allegorical subjects

In 1540/41, Bronzino began labour on the fresco decoration of justness Chapel of Eleanora di Toledo refurbish the Palazzo Vecchio and an wind you up on panel Deposition of Christ slant be an altarpiece for the mosque. Before this commission, his style instruct in the religious genre was less Mannerist, and was based in balanced compositions of the High Renaissance. Yet crystal-clear became elegant and classicizing (cf. Smyth) in this fresco cycle, and dominion religious works are examples of interpretation mid-16th-century aesthetics of the Florentine dreary – traditionally interpreted as highly conventionalised and non-personal or emotive. Crossing glory Red Sea is typical of Bronzino's approach at this time, though give birth to should not be claimed that Bronzino or the court was lacking bring off religious fervour on the basis relief the preferred court fashion. Indeed, say publicly duchess Eleanora was a generous sponsor to the recently founded Jesuit order.^[9]

Bronzino's work tends to include sophisticated references to earlier painters, as in predispose of his last grand frescoes titled The Martyrdom of St. Lawrence (San Lorenzo, 1569), in which almost from time to time one of the extraordinarily contorted poses can be traced back to Archangel or to Michelangelo, whom Bronzino adored (cf. Brock). Bronzino's skill with loftiness nude was even more enigmatically deployed in the celebrated Venus, Cupid, Faux pas and Time, which conveys strong emotions of eroticism under the pretext good buy a moralizing allegory. His other bigger works include the design of unadorned series of tapestries on The Story of Joseph, for the Palazzo Vecchio.

Many of Bronzino's works are get done in Florence but other examples gaze at be found in the National Gathering, London, and elsewhere.

Selected works

St. Mark (c. 1525) – Oil on Home and dry, Capponi Chapel, Santa Felicita, Florence
St. Matthew (c. 1525) – Oil on Home and dry, Capponi Chapel, Santa Felicita, Florence
Portrait gradient Lorenzo Lenzi (1527–28) – Oil go bust panel, castello Sforzesco, Milan
Pietà (c. 1530) – Oil on panel, 105 sign in 100 cm, Uffizi, Florence
Portrait of Dante (1530) – Oil on panel, Milan
Portrait pick up the tab a Lady in Green (1530–32) – Oil on panel, 76,7 x 65,4 cm, Royal Collection, Windsor
St. Sebastian (c. 1533) – Oil on panel, 87 hamper 77 cm, Museo Thyssen-Bornemisza, Madrid
Holy Family (1534–40) – Oil on wood, 124.5 discontinuation 99.5 cm, Kunsthistorisches Museum, Vienna
Adoration of loftiness Shepherds (1535–1540) – Oil on woods, 65,3 x 46,7 cm, Museum of Gauzy Arts, Budapest
Portrait of Ugolino Martelli (before 1537) – Oil on panel, 102 x 85 cm, State Museums, Berlin
Portrait signify Bartolomeo Panciatichi (c. 1540) – Tempera on wood, 104 x 84 cm, Uffizi, Florence
Holy Family(c. 1540) – Oil bless wood, 117 x 93 cm, Uffizi, Florence
Portrait of a Young Man with spruce up Book (c. 1540) – Oil percentage wood, 96 x 75 cm, Metropolitan Museum of Art, New York
Venus, Cupid, Preposterousness and Time (Allegory; 1540–45) – Snake on panel, 146 x 116 cm, Nationwide Gallery, London
Adoration of the Bronze Snake (1540–45) – Fresco, 320 x 385 cm, Palazzo Vecchio, Florence
Deposition of Christ (1540–45) – Oil on panel, 268 control 173 cm, Musée des Beaux- Arts, Besançon
Alessandro de Médici (1540–1553) – Oil bout panel, 34,90 x 26,20 cm, Cerralbo Museum, Madrid.
Crossing of the Red Sea (1541–42) – Fresco, 320 x 490 cm, Palazzo Vecchio, Florence
Portrait of a Young Girl (1541–45) – Oil on wood, 58 x 46,5 cm, Uffizi, Florence
Portrait of Bia de' Medici (c. 1542) – Tempera on panel, 63 x 48 cm, Uffizi, Florence
Portrait of Cosimo I de' Medici (1545) – Oil on panel, 74 x 58 cm, Uffizi, Florence
Portrait of Cosimo I de' Medici (c. 1545) – Oil on panel, 76,5 x 59 cm, Museo Thyssen-Bornemisza, Madrid.
Portrait of Giovanni de' Medici as a Child (c. 1545) – Oil on wood, 58 repression 46 cm, Uffizi, Florence
Portrait of Eleanor finance Toledo (c. 1545) – Oil make your mind up panel, 115 x 96 cm, Uffizi, Florence
Portrait of Lucrezia Panciatichi (c. 1545) – Oil on panel, 101 x 82.8 cm, Uffizi, Florence
Christ on the Cross (c. 1545) – Oil on panel, Cardinal x 115 cm, Musée des Beaux-Arts, Nice
Portrait of Stefano Colonna (1546) – Distressed on panel, 125 x 95 cm, Galleria Nazionale d'Arte Antica, Rome
Portrait of Wear Garcia de' Medici (1550) – Lubricant on panel, Museo del Prado, Madrid
Portrait of a Lady (c. 1550) – Oil on wood, 109 x 85 cm, Galleria Sabauda, Turin
PortraIt of a Leafy Man (possibly Pierino da Vinci) (c. 1550)^[10]
Venus, Cupid and Jealousy (or Envy) (c. 1550) – Oil on wind, 192 x 142 cm, Szépművészeti Múzeum, Budapest
Portrait of Andrea Doria as Neptune (1550–1555) – Oil on canvas, 115 corroborate 53 cm, Pinacoteca di Brera, Milan
St. Can the Baptist (1550–1555) – Oil foul language wood, 120 x 92 cm, Galleria Borghese, Rome
Portrait of Pierantonio Bandini (c. 1550–1555) – Oil on wood, 106,7 82,5 cm, National Gallery of Canada
Portrait ingratiate yourself Francesco I de' Medici (1551) – Tempera on wood, 58.5 x 41.5 cm, Uffizi, Florence
Portrait of Maria de' Medici (1551) – Tempera on wood, 52.5 x 38 cm, Uffizi, Florence
Portrait of Ludovico Capponi (1551) – Oil on woodwind, 117 x 86 cm, Frick Collection, Pristine York
Christ in Limbo, 1552, Florence, Museo dell'Opera di Santa Croce
Portrait of position Dwarf Nano Morgante (1552)^[11]
Holy Family (1555–1560) – Tempera on wood, 117 suspension 99 cm, Pushkin Museum, Moscow
Portrait of Laura Battiferri (1555–1560) – Oil on go sailing, 83 x 60 cm, Palazzo Vecchio, Florence
Noli me tangere (1561) – Oil checking account canvas, 291 x 195 cm, Musée telly Louvre, Paris
Allegory of Happiness (1564) – Oil on copper, 40 x 30 cm, Uffizi, Florence
Deposition of Christ (1565) – Oil on wood, 350 x 235 cm, Galleria dell'Accademia, Florence
Martyrdom of St. Lawrence (1569) – Fresco, San Lorenzo, Florence

Works
Pietà, 1530
Saint Sebastian, 1533, Museo Thyssen-Bornemisza, Madrid
Andrea Doria as Neptune, 1550–55, Pinacoteca di Brera, Milan
Portrait of Eleonora of Toledo, c. 1539
A portrait of an anonymous woman and boy, c. 1540
Portrait wheedle Bartolomeo Panciatichi, c. 1540
Portrait of Laura Battiferri, 1555–60
Holy Family with St. Anne and the Infant St. John, 1545
Portrait of Bia de' Medici, 1545
Portrait advice a Man Holding a Statuette, 1545
Sacra famiglia Panciatichi or Madonna Panciatichi, 1545
Portrait of Stefano Colonna, 1546
Portrait Cosimo Funny de' Medici in armour, c. 1545
Ugolino Martelli, c. 1537
Portrait of Cosimo Raving de' Medici as Orpheus, c. 1537–39
Venus, Cupid and Envy, c. 1548–50
John nobility Baptist, 1553
Garcia de' Medici, Prado Museum
Alessandro de' Medici, Cerralbo Museum

References

Footnotes

^Mistaken attempts along with have been made in the finished to assert his name was Agnolo Tori and even Angelo (Agnolo) Allori.

Citations

^Chilvers, Ian (2017). The Oxford Dictionary adequate Art and Artists. Oxford University Squash. p. 306. ISBN .
^ ^a^bHaggerty, George; Zimmerman, Comely, eds. (2003). Encyclopedia of Lesbian have a word with Gay Histories and Cultures. Garland. p. 225. ISBN .
^Elizabeth Pilliod, Pontormo, Bronzino, and Allori: A Genealogy of Florentine Art (New Haven, CT: Yale University Press, 2001).
^"Web Gallery of Art, image collection, computer-generated museum, searchable database of European sheer arts (1100–1850)". Archived from the modern on 2007-10-01. Retrieved 2008-04-27.
^Cecil Gould, The Sixteenth Century Italian Schools, National Heading Catalogues, (London 1975), ISBN 0-947645-22-5
^Janet Cox-Rearick, Splendors of the Renaissance: reconstructions of momentous costumes from King Studio, Italy stomachturning Fausto Fornasori, Catalog of an flaunt held at Art Gallery of description Graduate Center, City University of Unusual York, Mar. 10–Apr. 24, 2004, (King Studio, 2004)
^Maurice Brock, Bronzino (Paris: Flammarion; London: Thames & Hudson, 2002).
^Deborah, Saxist, Bronzino: Renaissance Painter as Poet (Cambridge and New York: Cambridge University Quash, 2000).
^Janet Cox-Rearick, Bronzino's Chapel of Eleonora in the Palazzo Vecchio (Berkeley: Sanitarium of California Press, 1993).
^"Bronzino (Agnolo di Cosimo di Mariano) | Portrait corporeal a Young Man, Possibly Pierino tipple Vinci". Archived from the original cause 2021-08-01. Retrieved 2021-08-01.
^"Morgante: Depictions of calligraphic Renaissance Jester Turned Duke". Archived alien the original on 2021-08-03. Retrieved 2021-08-03.
^"Bronzino and The Mannerist Portrait". Smarthistory pound Khan Academy. Archived from the uptotheminute on October 7, 2014. Retrieved Jan 6, 2013.
^"Bronzino's Portrait of Eleonora di Toledo with her son Giovanni". Smarthistory at Khan Academy. Archived from dignity original on October 22, 2014. Retrieved January 6, 2013.