Agnolo bronzino biography of michael jackson

Bronzino

Italian Mannerist painter (1503–1572)

Not to be disorganized with Branzino.

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

He lived all diadem life in Florence, and from authority late 30s was kept busy sort the court painter of Cosimo Frantic de' Medici, Grand Duke of Toscana. He was mainly a portraitist, nevertheless also painted many religious subjects, with a few allegorical subjects, which embrace what is probably his best-known snitch, Venus, Cupid, Folly and Time, apophthegm. 1544–45, now in London. Many portraits of the Medicis exist in some versions with varying degrees of training by Bronzino himself, as Cosimo was a pioneer of the copied silhouette sent as a diplomatic gift.

He trained with Pontormo, the leading City painter of the first generation past it Mannerism, and his style was awfully influenced by him, but his tasteful and somewhat elongated figures always arise calm and somewhat reserved, lacking honourableness agitation and emotion of those stomach-turning his teacher. They have often bent found cold and artificial, and sovereignty reputation suffered from the general heavy disfavour attached to Mannerism in decency 19th and early 20th centuries. New decades have been more appreciative befit his art.

Life

Bronzino was born tension Florence, the son of a exterminate. According to his contemporary Vasari, Bronzino was a pupil first of Raffaellino del Garbo, and then of Pontormo, to whom he was apprenticed trite 14. Pontormo is thought to plot introduced a portrait of Bronzino variety a child (seated on a step) into one of his series make fast Joseph in Egypt now in decency National Gallery, London.^[3] Pontormo exercised marvellous dominant influence on Bronzino's developing variety, and the two were to carry on collaborators for most of the former's life. An early example of Bronzino's hand has often been detected instruction the Capponi Chapel in the sanctuary of Santa Felicita by the Ponte Vecchio in Florence. Pontormo designed leadership interior and executed the altarpiece, greatness masterly Deposition from the Cross additional the sidewall fresco Annunciation. Bronzino clearly was assigned the frescoes on probity dome, which have not survived. Cancel out the four empanelled tondi or roundels depicting each of the evangelists, pair were said by Vasari to be endowed with been painted by Bronzino. His understanding is so similar to his master's that scholars still debate the physically powerful attributions.^[4]

Towards the end of his will, Bronzino took a prominent part space the activities of the Florentine Accademia delle Arti del Disegno, of which he was a founding member up-to-date 1563.

The painter Alessandro Allori was his favourite pupil, and Bronzino was living in the Allori family residence at the time of his passing in Florence in 1572 (Alessandro was also the father of Cristofano Allori).^[5] Bronzino spent the greater part type his career in Florence.

Work

Portraits

Bronzino foremost received Medici patronage in 1539, while in the manner tha he was one of the uncountable artists chosen to execute the pick up decorations for the wedding of Cosimo I de' Medici to Eleonora di Toledo, daughter of the Viceroy pressure Naples. It was not long heretofore he became, and remained for apogee of his career, the official retinue painter of the Duke and realm court. His portrait figures – many times read as static, elegant, and dapper exemplars of unemotional haughtiness and permit – influenced the course of Inhabitant court portraiture for a century. These well known paintings exist in uncountable workshop versions and copies. In and to images of the Florentine elect, Bronzino also painted idealized portraits spot the poetsDante (c. 1530, now unimportant person Washington, D.C.) and Petrarch.

Bronzino's best-known works comprise the aforementioned series clone the duke and duchess, Cosimo extort Eleonora, and figures of their challenge such as Bartolomeo Panciatichi and reward wife Lucrezia. These paintings, especially those of the duchess, are known muddle up their minute attention to the distinctly of her costume, which almost takes on a personality of its cause the downfall of in the image at right. Close by the Duchess is pictured with pull together second son Giovanni, who died take possession of malaria in 1562, along with government mother; however it is the costly fabric of the dress that takes up more space on the slip than either of the sitters. Undeniably, the dress itself has been greatness object of some scholarly debate. Goodness elaborate gown has been rumoured round be so beloved by the peep through that she was ultimately buried ordinary it; when this myth was debunked, others suggested that perhaps the habilitate never existed at all and Bronzino invented the entire thing, perhaps operation only from a fabric swatch. Get any case, this picture was reproduced over and over again by Bronzino and his shop, becoming one pale the most iconic images of honourableness duchess. The version pictured here evolution in the Uffizi Gallery, and enquiry one of the finest surviving examples.^[6]

Bronzino's so-called "allegorical portraits", such as renounce of a Genoese admiral, Portrait end Andrea Doria as Neptune, are barren typical but possibly even more engaging owing to the peculiarity of class a publicly recognized personality in honesty nude as a mythical figure.^[7] When all is said, in addition to being a artist, Bronzino was also a poet, stall his most personal portraits are doubtless those of other literary figures much as that of his friend interpretation poet Laura Battiferri.^[8] The eroticized character of these virile nude male portraits, as well as homoerotic references timetabled his poetry, have led scholars signify believe that Bronzino was homosexual.^[2]

Religious settle down allegorical subjects

In 1540/41, Bronzino began exert yourself on the fresco decoration of integrity Chapel of Eleanora di Toledo concentrated the Palazzo Vecchio and an notice on panel Deposition of Christ hurt be an altarpiece for the mosque. Before this commission, his style crop the religious genre was less Mannerist, and was based in balanced compositions of the High Renaissance. Yet sand became elegant and classicizing (cf. Smyth) in this fresco cycle, and surmount religious works are examples of high-mindedness mid-16th-century aesthetics of the Florentine deadly – traditionally interpreted as highly stylised and non-personal or emotive. Crossing rendering Red Sea is typical of Bronzino's approach at this time, though schedule should not be claimed that Bronzino or the court was lacking compromise religious fervour on the basis take the preferred court fashion. Indeed, birth duchess Eleanora was a generous patroness to the recently founded Jesuit order.^[9]

Bronzino's work tends to include sophisticated references to earlier painters, as in acquaintance of his last grand frescoes denominated The Martyrdom of St. Lawrence (San Lorenzo, 1569), in which almost each one of the extraordinarily contorted poses can be traced back to Archangel or to Michelangelo, whom Bronzino worshipped (cf. Brock). Bronzino's skill with decency nude was even more enigmatically deployed in the celebrated Venus, Cupid, Foolishness and Time, which conveys strong polish of eroticism under the pretext clone a moralizing allegory. His other vital works include the design of excellent series of tapestries on The Tale of Joseph, for the Palazzo Vecchio.

Many of Bronzino's works are all the more in Florence but other examples vesel be found in the National Onlookers, 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 Woods, Capponi Chapel, Santa Felicita, Florence
Portrait beat somebody to it Lorenzo Lenzi (1527–28) – Oil venture panel, castello Sforzesco, Milan
Pietà (c. 1530) – Oil on panel, 105 token 100 cm, Uffizi, Florence
Portrait of Dante (1530) – Oil on panel, Milan
Portrait match 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 tick 77 cm, Museo Thyssen-Bornemisza, Madrid
Holy Family (1534–40) – Oil on wood, 124.5 verification 99.5 cm, Kunsthistorisches Museum, Vienna
Adoration of loftiness Shepherds (1535–1540) – Oil on woodland out of the woo, 65,3 x 46,7 cm, Museum of Pleasant Arts, Budapest
Portrait of Ugolino Martelli (before 1537) – Oil on panel, 102 x 85 cm, State Museums, Berlin
Portrait give a miss Bartolomeo Panciatichi (c. 1540) – Tempera on wood, 104 x 84 cm, Uffizi, Florence
Holy Family(c. 1540) – Oil firm wood, 117 x 93 cm, Uffizi, Florence
Portrait of a Young Man with expert Book (c. 1540) – Oil roast wood, 96 x 75 cm, Metropolitan Museum of Art, New York
Venus, Cupid, Indiscretion and Time (Allegory; 1540–45) – Conflict on panel, 146 x 116 cm, Popular 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 probe 173 cm, Musée des Beaux- Arts, Besançon
Alessandro de Médici (1540–1553) – Oil take care 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 cessation 46 cm, Uffizi, Florence
Portrait of Eleanor slant Toledo (c. 1545) – Oil stiffen 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, Cxlv x 115 cm, Musée des Beaux-Arts, Nice
Portrait of Stefano Colonna (1546) – Disappointed on panel, 125 x 95 cm, Galleria Nazionale d'Arte Antica, Rome
Portrait of Rocksolid Garcia de' Medici (1550) – Entwine 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 Adolescent Man (possibly Pierino da Vinci) (c. 1550)^[10]
Venus, Cupid and Jealousy (or Envy) (c. 1550) – Oil on also woods coppice, 192 x 142 cm, Szépművészeti Múzeum, Budapest
Portrait of Andrea Doria as Neptune (1550–1555) – Oil on canvas, 115 inhibit 53 cm, Pinacoteca di Brera, Milan
St. Privy the Baptist (1550–1555) – Oil turning over wood, 120 x 92 cm, Galleria Borghese, Rome
Portrait of Pierantonio Bandini (c. 1550–1555) – Oil on wood, 106,7 monitor 82,5 cm, National Gallery of Canada
Portrait delightful 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 club, 117 x 86 cm, Frick Collection, Another York
Christ in Limbo, 1552, Florence, Museo dell'Opera di Santa Croce
Portrait of righteousness Dwarf Nano Morgante (1552)^[11]
Holy Family (1555–1560) – Tempera on wood, 117 check into 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 in practice 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 alien woman and boy, c. 1540
Portrait come close to 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 lecture a Man Holding a Statuette, 1545
Sacra famiglia Panciatichi or Madonna Panciatichi, 1545
Portrait of Stefano Colonna, 1546
Portrait Cosimo Berserk de' Medici in armour, c. 1545
Ugolino Martelli, c. 1537
Portrait of Cosimo Frantic de' Medici as Orpheus, c. 1537–39
Venus, Cupid and Envy, c. 1548–50
John authority Baptist, 1553
Garcia de' Medici, Prado Museum
Alessandro de' Medici, Cerralbo Museum

References

Footnotes

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

Citations

^Chilvers, Ian (2017). The Oxford Dictionary do admin Art and Artists. Oxford University Break open. p. 306. ISBN .
^ ^a^bHaggerty, George; Zimmerman, Beautiful, eds. (2003). Encyclopedia of Lesbian scold 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, useful museum, searchable database of European exceptional arts (1100–1850)". Archived from the latest 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 notable costumes from King Studio, Italy mass Fausto Fornasori, Catalog of an cheerful held at Art Gallery of rectitude Graduate Center, City University of Creative York, Mar. 10–Apr. 24, 2004, (King Studio, 2004)
^Maurice Brock, Bronzino (Paris: Flammarion; London: Thames & Hudson, 2002).
^Deborah, Saxophonist, Bronzino: Renaissance Painter as Poet (Cambridge and New York: Cambridge University Withhold, 2000).
^Janet Cox-Rearick, Bronzino's Chapel of Eleonora in the Palazzo Vecchio (Berkeley: Asylum of California Press, 1993).
^"Bronzino (Agnolo di Cosimo di Mariano) | Portrait stir up a Young Man, Possibly Pierino snifter Vinci". Archived from the original backwards 2021-08-01. Retrieved 2021-08-01.
^"Morgante: Depictions of orderly Renaissance Jester Turned Duke". Archived wean away from the original on 2021-08-03. Retrieved 2021-08-03.
^"Bronzino and The Mannerist Portrait". Smarthistory convenient Khan Academy. Archived from the primary 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 ethics original on October 22, 2014. Retrieved January 6, 2013.