Il Bronzino
The Columbia Encyclopedia, Sixth Edition | Date: 2008
Il Bronzino , 1503-72, Florentine painter, an important mannerist (see mannerism ), whose real name was Agnolo di Cosimo di Mariano. Bronzino was a pupil and adopted son of Jacopo da Pontormo. Continuing the tradition of his master, he specialized and excelled in portraiture. He depicted many elegant and celebrated men and women of the time; his portraits included Cosimo I de' Medici and his wife Eleanor of Toledo (both: Uffizi); Lodovico Capponi (Frick Coll., New York City); and Portrait of a Young Man (Metropolitan Mus.). In 1540 he became court painter to Cosimo I. Bronzino's sophisticated portraits are cold, unemotionally analytical and painted in a superbly controlled technique. The long, chilly faces and postures of his aristocratic subjects express an undisguised arrogance popular in the mannerist period. Bronzino's work had an influence on court portraiture throughout Europe and extended even to Elizabethan England. His Venus, Cupid, Folly, and Time (National Gall., London) conveys an eroticism beneath a moralizing allegory. Of his religious works, The Descent of Christ into Limbo (Uffizi) is the most famous.
Bibliography: See study by C. H. Smyth (1972).
Author not available, BRONZINO, IL.,
The Columbia Encyclopedia, Sixth Edition 2008
The Columbia Encyclopedia, Sixth Edition. Copyright 2008 Columbia University Press
Related newspaper, magazine, and journal articles from HighBeam Research
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An exemplary humanist hybrid: Vasari's "Fraude" with reference to Bronzino's "Sphinx." (Giorgio Vasari and Agnolo di Cosimo a.k.a. Bronzino)
Renaissance Quarterly; 6/22/1996; Moffitt, John F.; 787 words
; In an article recently published in this journal,(1) I argued that a certain, often discussed, hybrid encountered in Bronzino's well-known painting depicting The Exposure of Luxury (ca. 1545, National Gallery, London; also known as Venus, Cupid, Folly, and Time) was actually intended to represent a
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Towards a reading of Bronzino's burlesque poetry. (painter and poet Agnolo Bronzino)
Renaissance Quarterly; 12/22/1997; Parker, Deborah; 787 words
; In his Capitolo in Lode Del Dappoco, a facetious tribute to the worthless person, the painter Agnolo Bronzino (1503-72) muses to his cat Corimbo about how he likes to spend his evenings: Tu sai Corimbo, che tal volta io leggo/cosi nel letto, per adormentarmi,/o quando, com'or teco al fuoco seggo;/e
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(book reviews)
Renaissance Quarterly; 3/22/1995; Wallace, William E.; 627 words
; This lucidly written and beautifully produced book is an authoritative monographic study of the Chapel of Eleonora di Toledo, Bronzino's masterpiece and a major monument of sixteenth-century Italian painting. The small size of the chapel in Palazzo Vecchio (approximately four meters square) belies
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A Bronzino discovery: Pentimenti and vivacious brushwork persuade Janet Cox-Rearick and Philippe Costamagna that they have identified a Madonna and Child painted by Bronzino in Pontormo's studio.(Critical Essay)
Apollo; 4/1/2004; Cox-Rearick, Janet Costamagna, Philippe; 787 words
; A recently discovered Madonna and Child with St John the Baptist (Private Collection, Milan; Fig. 1) (1) is here attributed to the young Bronzino. (2) The composition has long been known from two other versions identical in dimensions to the Milan painting. Both were traditionally attributed to
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Bronzino: Renaissance Painter as Poet
The Virginia Quarterly Review; 1/1/2002; Anonymous; 184 words
; Bronzino: Renaissance Painter as Poet, by Deborah Parker. The Renaissance painter Agnolo Bronzino, known to many from Henry James' description of one of the artist's portraits in The Wings of the Dove, was, like Michelangelo, also a poet. But unlike Michelangelo's literary creations, Bronzino's
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