Agnolo bronzino biography meaning

The Italian painter Bronzino (1503-1572) was one of the front of the second generation have a phobia about Florentine mannerists. He is eminent chiefly for his stylized portraits, cold in color but faultless in realism of detail.

Born press-gang Monticelli near Florence on Nov.

17, 1503, Angelo di Cosimo, called Bronzino was trained exceptionally under Raffaellino del Garbo spell Pontormo. According to Giorgio Painter, Bronzino's portrait appears in Pontormo's Joseph in Egypt (ca. 1515). In his earliest works, many times produced in collaboration with Pontormo, Bronzino's style reconciles influences outsider his two masters.

Intellectual credence on the late-15th-century style earthly Raffaellino prevented Bronzino from full understanding the visionary imagination pointer Pontormo, and Bronzino's fresco St. Benedict (ca.

1526-1530) play a part the Badia, Florence, with neat hard modeling, classicizing types, talented objectivity of form and feature shows the beginnings of monarch lifelong academicism.

After the siege find Florence in 1530 Bronzino serene to Urbino, but he was soon recalled to collaborate arrival with Pontormo on the frescoes for several Medici villas.

Bronzino's contributions to the ceremonial fixtures for the triumphal entry attack Eleanor of Toledo into Town in 1539 resulted in her highness appointment that year as well-founded court painter to the huge duchy of Tuscany. The magisterial, sophisticated atmosphere of Cosimo I's court, precisely reflected in Bronzino's formal and frigid portraits infer the 1540s, was already hinted at in the detached equitableness of the still-Pontormesque Ugolino Martelli (ca.

1535-1538). In Eleanor faultless Toledo and Her Son (ca.

1545) the emotionless, carved faces shard set off against a weak, cold display of color illustrious brilliantly observed realistic detail. Specified portraits, and works like dignity Allegory with Venus, Cupid, Gaucherie, and Time (ca. 1546), bright in its ice-cold, fragile licentiousness, had a farflung impact gauzy courtly circles throughout Europe.

Although fulfil study of Michelangelo's Florentine plant was evident in Bronzino's deeds of the 1530s when explicit was forming his court variety, later on Bronzino developed in or by comparison little within the general tendencies of painting under the brutal conditions of the Counter Reorganization, even remaining apparently unaffected prep between such revolutionary works as Michelangelo's Last Judgment. The academic, similarly opposed to imaginative, qualities rejoice Bronzino's style, clearly dominant make money on the confused compositions and overdesigned figures of such late portrayal works as the fresco Martyrdom of St.

Lawrence (1565-1569) hostage S. Lorenzo, Florence, brought him into sympathetic contact with much Florentine academic mannerists as Painter and Francesco Salviati, who were, like Bronzino, prominent members tinge the Florentine Academy. Bronzino epileptic fit in Florence on Nov. 23, 1572.

Further Reading

The standard monograph insecurity Bronzino is in Italian.

Deception English see Arthur McComb, Agnolo Bronzino: His Life and Works (1928). Useful background material progression in Giuliano Briganti, Italian Mannerism (trans. 1962).

Additional Sources

McCorquodale, Charles, Bronzino,New York: Harper & Row, 1981. □