Bronzino

Agnolo di Cosimo (; 17 November 150323 November 1572), usually known as Bronzino ( ) or Agnolo Bronzino, was an Italian Mannerist painter from Florence. His sobriquet, ''Bronzino'', may refer to his relatively dark skin or reddish hair.

He lived all his life in Florence, and from his late 30s was kept busy as the court painter of Cosimo I de' Medici, Grand Duke of Tuscany. He was mainly a portraitist, but also painted many religious subjects, and a few allegorical subjects, which include what is probably his best-known work, '' Venus, Cupid, Folly and Time'', c. 1544–45, now in London. Many portraits of the Medicis exist in several versions with varying degrees of participation by Bronzino himself, as Cosimo was a pioneer of the copied portrait sent as a diplomatic gift.

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. They have often been found cold and artificial, and his reputation suffered from the general critical disfavour attached to Mannerism in the 19th and early 20th centuries. Recent decades have been more appreciative of his art.

Life

Bronzino was born in Florence, the son of a butcher. According to his contemporary Vasari, Bronzino was a pupil first of Raffaellino del Garbo, and then of Pontormo, to whom he was apprenticed at 14. Pontormo is thought to have introduced a portrait of Bronzino as a child (seated on a step) into one of his series on '' Joseph in Egypt'' now in the National Gallery, London. Pontormo exercised a dominant influence on Bronzino's developing style, and the two were to remain collaborators for most of the former's life. 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 apparently was assigned the frescoes on the dome, which have not survived. Of the four empanelled ''tondi'' or roundels depicting each of the evangelists, two were said by Vasari to have been painted by Bronzino. His style is so similar to his master's that scholars still debate the specific attributions.

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.

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).Cecil Gould. ''The Sixteenth Century Italian Schools.'' National Gallery catalogs. London 1975, . Bronzino spent the greater part of his career in Florence.

Work

Portraits

Bronzino first received Medici patronage in 1539, when he was one of the many artists chosen to execute the elaborate decorations for the wedding of Cosimo I de' Medici to Eleonora di Toledo, daughter of the Viceroy of Naples. It was not long before he became, and remained for most of his career, the official court painter of the Duke and his court. His portrait figures – often read as static, elegant, and stylish exemplars of unemotional haughtiness and assurance – influenced the course of European court portraiture for a century. These well known paintings exist in many workshop versions and copies. In addition to images of the Florentine elite, Bronzino also painted idealized portraits of the poets Dante (c. 1530, now in Washington, D.C.) and Petrarch.

Bronzino's best-known works comprise the aforementioned series of the duke and duchess, Cosimo and Eleonora, and figures of their court such as Bartolomeo Panciatichi and his wife Lucrezia. These paintings, especially those of the duchess, are known for their minute attention to the detail of her costume, which almost takes on a personality of its own in the image at right. Here the Duchess is pictured with her second son Giovanni, who died of malaria in 1562, along with his mother; however it is the sumptuous fabric of the dress that takes up more space on the canvas than either of the sitters. Indeed, the dress itself has been the object of some scholarly debate. The elaborate gown has been rumoured to be so beloved by the duchess that she was ultimately buried in it; when this myth was debunked, others suggested that perhaps the garment never existed at all and Bronzino invented the entire thing, perhaps working only from a fabric swatch. In any case, this picture was reproduced over and over again by Bronzino and his shop, becoming one of the most iconic images of the duchess. The version pictured here is in the Uffizi Gallery, and is one of the finest surviving examples.

Bronzino's so-called "allegorical portraits", such as that of a Genoese admiral, '' Portrait of Andrea Doria as Neptune'', are less typical but possibly even more fascinating owing to the peculiarity of placing a publicly recognized personality in the nude as a mythical figure. Finally, in addition to being a painter, Bronzino was also a poet, and his most personal portraits are perhaps those of other literary figures such as that of his friend the poet Laura Battiferri. The eroticized nature of these virile nude male portraits, as well as homoerotic references in his poetry, have led scholars to believe that Bronzino was homosexual.

Religious and allegorical subjects

In 1540/41, Bronzino began work on the fresco decoration of the Chapel of Eleanora di Toledo in the Palazzo Vecchio and an oil on panel '' Deposition of Christ'' to be an altarpiece for the chapel. Before this commission, his style in the religious genre was less Mannerist, and was based in balanced compositions of the High Renaissance. Yet he became elegant and classicizing in this fresco cycle, and his religious works are examples of the mid-16th-century aesthetics of the Florentine court – traditionally interpreted as highly stylized and non-personal or emotive. '' Crossing the Red Sea'' is typical of Bronzino's approach at this time, though it should not be claimed that Bronzino or the court was lacking in religious fervour on the basis of the preferred court fashion. Indeed, the duchess Eleanora was a generous patron to the recently founded Jesuit order.

Bronzino's work tends to include sophisticated references to earlier painters, as in one of his last grand frescoes called ''The Martyrdom of St. Lawrence'' ( San Lorenzo, 1569), in which almost every one of the extraordinarily contorted poses can be traced back to Raphael or to Michelangelo, whom Bronzino idolized . 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. His other major works include the design of a series of tapestries on '' The Story of Joseph'', for the Palazzo Vecchio.

Many of Bronzino's works are still in Florence but other examples can be found in the National Gallery, London, and elsewhere.

Selected works

All works are paintings in oil on wood panel, unless noted otherwise.

Florence

Original sites

* ''Adoration of the Bronze Snake'' (1540–45) – Fresco, 320 x 385 cm, Palazzo Vecchio
* '' Crossing of the Red Sea'' (1541–42) – Fresco, 320 x 490 cm, Palazzo Vecchio
* ''Martyrdom of St. Lawrence'' (1569) – Fresco, San Lorenzo
* ''St. Mark'' and ''St. Matthew'' (c. 1525) – Santa Felicita, Capponi Chapel

Uffizi

* '' Pietà'' (c. 1530) – 105 x 100 cm
* '' Portrait of Bartolomeo Panciatichi'' (c. 1540) – Tempera on wood, 104 x 84 cm
* '' Holy Family'' (c. 1540) – 117 x 93 cm
* ''Portrait of a Young Girl'' (1541–45) – 58 x 46,5 cm
* '' Portrait of Bia de' Medici'' (c. 1542) – Tempera on wood, 63 x 48 cm
* ''Portrait of Cosimo I de' Medici'' (1545) – 74 x 58 cm
* '' Portrait of Giovanni de' Medici as a Child'' (c. 1545) – 58 x 46 cm
* '' Portrait of Eleanor of Toledo'' (c. 1545) – 115 x 96 cm
* '' Portrait of Lucrezia Panciatichi'' (c. 1545) – 101 x 82.8 cm
* ''Portrait of Francesco I de' Medici'' (1551) – Tempera on wood, 58.5 x 41.5 cm
* ''Portrait of Maria de' Medici'' (1551) – Tempera on wood, 52.5 x 38 cm
* '' Allegory of Happiness'' (1564) – Oil on copper, 40 x 30 cm

Elsewhere in Florence

* ''Christ in Limbo'' (1552) – Museo dell'Opera di Santa Croce
* '' Portrait of the Dwarf Nano Morgante'' (1552) – Palazzo Pitti
* ''Portrait of Laura Battiferri'' (1555–60) – Oil on canvas, 83 x 60 cm, Palazzo Vecchio
* ''Deposition of Christ'' (1565) – 350 x 235 cm, Galleria dell'Accademia

Elsewhere in Italy

* ''Portrait of Lorenzo Lenzi'' (1527–28) – Castello Sforzesco, Milan
* '' Portrait of Andrea Doria as Neptune'' (1550–55) – Oil on canvas, 115 x 53 cm, Pinacoteca di Brera, Milan
* ''Portrait of Dante'' (1530) – Milan
* ''St. John the Baptist'' (1550–55) – 120 x 92 cm, Galleria Borghese, Rome
Inv. 444

* '' Portrait of Stefano Colonna'' (1546) – 125 x 95 cm, Galleria Nazionale d'Arte Antica ( Palazzo Barberini), Rome
Inv. 1434

* ''Portrait of a Lady'' (c. 1550) – 109 x 85 cm, Galleria Sabauda, Turin

Europe and UK

Austria

* ''The Holy Family with St. Anna and the Boy John'' (c. 1540) – 126.8 x 101.5 cm, Kunsthistorisches Museum, Vienna
Gemäldegalerie, 183

France

* ''Portrait of a Man Holding a Statuette'' (c. 1550) – transferred to canvas, 99 x 79 cm, Louvre, Paris
INV 131

* ''Holy Family with Saint Elizabeth and infant John the Baptist'' (1560/61) – 133 x 101 cm, Louvre, Paris
RF 1348

* ''Christ Appearing as a Gardener to the Three Maries'' or ''Noli me tangere'' (1561) – Oil on canvas, 289 x 194 cm, Louvre, Paris
INV 130

* '' Deposition of Christ'' (1540–45) – 268 x 173 cm, Musée des Beaux-Arts, Besançon
* ''Christ on the Cross'' (c. 1545) – 145 x 115 cm, Musée des Beaux-Arts, Nice

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