Bronzino portrait of a young man. Portrait of a Young Man, Bronzino (c1550 2022-12-08
Bronzino portrait of a young man Rating:
Pietro Aretino, a 16th-century Italian poet and playwright, once said, "A portrait is a painting, sculpture, or other artistic representation of a person, in which the face and its expression is predominant." This statement holds true for Bronzino's portrait of a young man, which is a prime example of Renaissance portraiture at its finest.
Bronzino, also known as Agnolo di Cosimo, was a Florentine painter who was active during the early to mid-16th century. He was a contemporary of Michelangelo and is considered one of the most important artists of the Mannerist movement, which emerged in Italy during the High Renaissance and is characterized by its elongated and stylized forms, as well as its focus on artistic virtuosity.
The portrait of a young man by Bronzino is a stunning example of Mannerist portraiture. It is a full-length portrait of a handsome and fashionable young man standing in front of a plain background. The young man is dressed in a sumptuous black and gold outfit, complete with a black hat and gloves. His long, curly hair is styled in the latest fashion, and he exudes an air of confidence and sophistication.
One of the most striking aspects of the portrait is the young man's pose. He stands with his arms crossed over his chest, his head turned slightly to the side, and his eyes looking directly at the viewer. This pose conveys a sense of self-assurance and intelligence, as if the young man is challenging the viewer to engage with him.
Another notable aspect of the portrait is Bronzino's meticulous attention to detail. The artist has captured every nuance of the young man's appearance, from the texture of his clothing to the individual hairs on his head. The result is a highly realistic and lifelike depiction of the subject.
Bronzino's portrait of a young man is a testament to the artist's skill and dedication to his craft. It is a work of art that stands the test of time and continues to be admired for its beauty and technical mastery.
However, his style is already clearly deviating from that of his master as Bronzino had begun to emphasize the opaque nature of the physical shapes he is painting. New York, 1996, p. The Metropolitan Museum of Art. Read more Read less Federigo Fantozzi, Nuova guida, ovvero descrizione storico-artistico-critica della citta e contorni di Firenze, Florence, 1842, p. The present panel has been related to an early work by Bronzino on which he collaborated with Pontormo: four tondi depicting the Evangelists painted for the funerary chapel of Ludovico Capponi in Santa Felicità in Florence. VIII, calls it a portrait of an unidentified young man by Bronzino in the Sagan collection, Paris, and dates it about 1535—40.
Mannerism and Masks: Bronzino's Portrait of a Young Man
What can you learn about these youths? His daughter is Dianora Sofferoni, the mother of Alessandro Allori. Carlo Gamba, Contributo alla conoscenza del Pontormo, Florence, 1956, p. The applicable rates are calculated based on the nature and proposed use of the images, as well as the availability of the requested image. Liana De Girolami Cheney. His face is porcelain-hard, yet he blushes slightly. After Raphael: Painting in Central Italy in the Sixteenth Century.
Although Florence was a republic at the time, Piero was in effec. In particular, no superposition of images or texts on the reproduction is allowed. Philippe Costamagna in The Drawings of Bronzino. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. The latter also worked in customs and had been posted in Pisa. New York, 1986, pp. Italian Paintings in America.
Scholarly consensus has coalesced around the notion that the painting is an early work by Agnolo Bronzino. Elizabeth Cropper in Virtue and Beauty: Leonardo's "Ginevra de' Benci" and Renaissance Portraits of Women. Keith Christiansen in The Medici: Portraits and Politics, 1512—1570. The contemporary art chronicler Vasari noted that Michelangelo's Bacchus possessed "both the youthful slenderness of the male and the fullness and roundness of the female". Mannerism spread between the High Renaissance and Baroque periods. Havemeyer, New York 1907—d.
The Metropolitan Museum of Art. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. However, it is the Young Man in the Red Cap and the portrait here presented that must be analyzed together. Andrea Bayer in The Medici: Portraits and Politics, 1512—1570. New York, 1993, p.
It appears likepurplish, carved stone. The artist was himself a poet, delighting as much in the beauty of language as he did in the witty and fanciful details of his paintings. It is clear that they are meant to provide a contrast to the sitter's refined facial features and bearing. September 24, 2010- January 23, 2011, Palazzo Strozzi, Florence , cat. Rabinow in Splendid Legacy: The Havemeyer Collection.
Christopher Riopelle in Portraits by Ingres: Image of an Epoch. Olivier Bonfait et al. New York, 1999, pp. That Bronzino would paint portraits of these two dear friends at the beginning of his career is not surprising. Jean Alazard, Le portrait Florentin de Botticelli a Bronzino, Paris, 1924, p.
This initial group, which features religious and mythological works of high technical merit, includes major compositions such as The Holy Family with Saint Elizabeth and the Infant Saint John the Baptist of around 1525—26 National Gallery of Art, Washington and The Pietà with Mary Magdalen Uffizi, Florence of 1529. Putting everything together, we know that this youth is well-educated and probably enjoyed a high social status. June 9, 2020, pp. Gretchen Wold in Splendid Legacy: The Havemeyer Collection. New York, 1995, p. He sure has the money to pay foreducation and nice clothes. That may be supported by the fact that according to Vasari Bronzino made a portrait of a daughter of Matteo Sofferoni as well fig.