Excellent, exh. For more information about this painting, including a technical study of the changes Bronzino made to the painting as he worked, visit metmuseum.org. Portrait of Cosimo I de' Medici as Orpheus Agnolo Bronzino 1538. Modern Pictures & Drawings formed by the late John Edward Taylor, Esq., If you want moreart fun, theres plenty ofblog postsfor you to check up on! Bronzino was the most illustrious pupil of Jacopo da Pontormo and the highly Pontormesque quality of the painting in this portrait suggests it should date to the beginning of Bronzinos career when his work most closely resembled that of Pontormo. In the Lanfranconi sale the Dayton picture was described as Bildnis eines Gelehrten, that is, a portrait of a scholar. Its present whereabouts is unknown. . Bronzino's treatment of the young man's fingers reflects the Mannerist taste for exaggerated elegance and elongated proportions, while the enameled finish of the flesh tones is typical of Mannerist polished virtuosity. 2. Bronzino gives his socially elevated model the opportunity to present himself to the world as sober, scholarly, thoughtful, yet by peeling back that pink curtain to reveal a statue of Bacchus, he suggests this young man's decorous pose is not the whole truth. 21; p. 133, fig. particular artwork or image may not reflect the most current information available to the Museum. wife, Martha Elizabeth Taylor (d. 1912), 1905-1912; Nuova guida della citta di (exh. Pontormo (repro.). 1503 - 1572. please e-mail, Agnolo di Cosimo di Mariano, called Bronzino. Mozzi collection, Bronzino. ), ca. contorni, 2nd ed. Thirteen For this painting Bronzino used Pontormo's very influential composition of the portrait of Francesco Guardi as a halberdier. Additionally, I encourage you to look at these paintings andsee if you can uncover any hidden meanings! Piccola Collezione DArte N. 15, Florence, 1921, pl. The pink drapery behind him is erotic, setting off the blush on his cheek and lips. [6] For the few words on the book that are legible, see John Shearman, The Early Italian Pictures in the Collection of Her Majesty the Queen, Cambridge and London, 1985, cat. George L. Stout, Condition: Excellent, Art News 50 (March 1951): 26, (repro.). Edi Baccheschi, Catalogue to Greco: The Age of Mannerism, The John Herron Art Museum, [1] The smudgy hairline of the man in the present painting is similar to that of the Gettys portrait of the soldier Francesco Guardi and that of Pontormos Portrait of Duke Alessandro (Private Collection). Interestingly, this painting is not the onlyPortrait of a Young Manby Bronzino. Paintings from the 15th Century to the Present Time, Crandall Although the sitter cannot be identified, he is likely a member of Bronzino's close circle of literary friends. Museo Nacional Thyssen-Bornemisza Collection Exhibitions Activities Education Agnolo di Cosimo di Mariano Tori, known as Bronzino, was one of the leading artists of Florentine Mannerism. Charles McCorquodale, Bronzino (Florence: Presso It rests on a green-covered table that serves as a kind of plinth for the sitter, who presents himself half-length, almost as a sculptural bust. Fantozzi, Nuova guida, ovvero descrizione (They appear in full party mode in Titian's Bacchus and Ariadne of 1522-3, also in the National Gallery.). 6. But which adult world? Turner, R.A., Works by Not to mention the aloofness and confidence associated witharistocrats. The Portrait of a Young Man in a Red Cap, the Portrait of Lorenzo Lenzi and the present portrait all depict men holding letters or books, a motif that had been well-established in Florentine portraiture and adapted from Northern painting of the fifteenth century. June 21, 1919; her second husband was Commodore William Hayward. A half-length portrait of a dark-haired, bearded young man attired in a richly brocaded blackish purple coat, a white embroidered collar, a black cape, and a black velvet hat with a whitish gray feather. This young man certainly has a hyper-sensitive taste! Finocchio, Ross. 10, pp. This portraitamong Bronzino's most arrestingwas painted in the 1530s. You see, alongside art, Bronzinowas a poet too! Portrait of a Young Man with a Book Agnolo Bronzino 1538. Atkins Museum of Fine Arts, 4th ed. gra. Consult the photographs at pp. nherited by his In 1528 in a contractual agreement Matteo Sofferoni employed as one of his witnesses Jacopo da Pontormo. [1] For a recent resume of the opinions on these portraits and superb illustrations, see Miraculous Encounters: Pontormo from Painting to Drawing, Bruce Edelstein and Davide Gasparotto, eds. (Paris: M. Knoedler & Co., April 23May 24, 1913), 15, (repro.). 5, as not by Pontormo. of the Highly Important Collection of Drawings by J.M.W. Janet Majure, The Curious Case of the Crimson Tunic, Kansas City Star (September 8, 1991): Politics, 15121570, exh. 2 Jacopo da Pontormo, Portrait of a Young Man in a Red Cap (Jacopo Neroni? 8-19; and the entry by Raffaele de Giorgi, in Bronzino: Artist and Poet at the Court of the Medci, Carlo Falciani and Antonio Natali, eds. 3 Agnolo Bronzino, Portrait of Lorenzo Lenzi, 1527-28, 90 x 71 cm. Sexual ambiguity was associated with Bacchus. (New These examples illuminate the present portrait, clarifying the tradition from which it emanates. In fact, BronzinosAnAllegory with Venus and Cupidis one of his most sophisticated works through its allusions to mythology and insights about love. cat. A2782 and CA2118, March The painting failed to Firenze: ossia descrizione di tutte le cose che vi si trovano degne Born in Florence and trained by the mannerist master Jacopo Pontormo, Bronzino was a poet as well as a painter and a member of the prestigious Florentine Academy. It contains a tangle of moral messages, presented in a sexually explicit image. [4] Her pointlitis well taken in and that inclusion of this type of detail is more a mark of Bronzinos work in the 1540s than of the late 1520s. The fact that a copy was made suggests the importance of the present work, but it also reveals a significant change. 5387, stock book 6, no. (repro.). But, surprise, surprise, theres another hidden mask! of Art, 1996), 179188, (repro.). Bronzino, a mannerist artist,delighted in creating witty paintings with hidden, complex meanings. Close. Clapp. It reminds me of the saying,a man of many masks.. (exh. Foremost among this group were Andreas students Jacopo da Pontormo (14941556) and Rosso Fiorentino (14941540). (exh. des Kunsthistorischen Institutes in Florenz 8 (1957-59): 152n8. Mannerism: Bronzino (15031572) and his Contemporaries. In Heilbrunn Timeline of Art History. In them the sitter displays works written in everyday Italian script while Lorenzo Lenzi displays a book written in the chancery hand (cancellaresca) that became wide-spread in the sixteenth century. Portrait of a Young Man Bronzino (Agnolo di Cosimo di Mariano) The Holy Family with the Young Saint John the Baptist Andrea del Sarto (Andrea d'Agnolo) Jupiter and Juno: Study for the "Furti di Giove" Tapestries Perino del Vaga (Pietro Buonaccorsi) The Miracle of the Loaves and Fishes Jacopo Tintoretto (Jacopo Robusti) Keith Christiansen and Carlo Bronzino - Portrait of a Young Man Part 1 National Gallery UK 314 / 402 0 Text; Part 1 National Gallery UK - Bronzino - Portrait of a Young Man 1550-55 . 'Portrait of a young man' was created in c.1531 by Agnolo Bronzino in Mannerism (Late Renaissance) style. Masterpiece of the Month, Gallery News (William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts), d'osservazione con pianta e vedute. Carlo Falciani in Renaissance,Christies, 28 January, 2015, New York, lot. On the left-hand page in the left margin is the symbol for soldi (a monetary denomination) and the number 16. no. Bronzino himself composed verses in the style of the great Florentine poet Petrarch (13041374), and the fanciful and witty details in this picturethe carved grotesque heads on the table and chair and the masklike face suggested in the folds of the youth's breecheswould have been appreciated by writers as comments on masks and identity. Portrait of a lady in . cat. The Christ Child removes a garland of flowers from his head, symbolising innocence or childish pleasure. de Exposition de tableaux anciens provenant de collections particulieres. nat. Since 1846 to an Expanding Country, Art Catalogue (Denver: The Denver Art This literary reference is supported by the book (most likely a poetry book) that the youthholds. Starting in Italy, it lasted from 1520 to 1600. Matteo was the brother or step-brother of Dianora Sofferoni, the mother of Alessandro Allori. University Press, 1972), 36, 525, 589. to Knoedler and Co., New York, stock book 6, no. Jean Alazard, Le portrait Florentin de Botticelli a Bronzino, Paris, 1924, p. 177, n. 2, as school of Pontormo. It entered the Metropolitan Museum of Art in New York in 1929, where it is still held. The National Gallery, London NG 1035, Fig. The intense tones and gracefully choreographed figures in Pontormos crowded Deposition in the Church of Santa Felicit (Capponi Chapel, Florence) heighten the emotional pitch of the picture and show a taste for elegance and artifice also seen in the stylized head and intricately braided hairstyle of Rossos Woman with an Elaborate Coiffure (19.76.11; 52.124.2; 49.97.233). By the mid-sixteenth century, the influence of Mannerism had spread far beyond Florence. The Portrait of a Young Man with a Book is an oil on board painting by Agnolo Bronzino, executed c. 1540. Carlo Gamba, Il Pontormo. Portrait of a Young Man, 1550/1555 Oil on panel Bronzino was the official portraitist to the court of the autocratic Medici family in mid-16th-century Florence. Fine Arts Center, 1947), unpaginated, (repro.). Agnolo Bronzino catalogue raisonn, 1973; User:Rlbberlin/1; File:Agnolo Bronzino - Portrait of a Young Man.jpg; File:Angelo Bronzino 063.jpg; File:Portrait of a Young Man - Il Bronzino.png; File:Portrait of a Young Man MET DT7.jpg (file redirect) (repro.). So, hone your inner Sherlock Holmes and lets unmask the youth! 27. Italian Department of European Paintings, The Metropolitan Museum of Art. Portraits Portrait of a Young Man, c. 1550-55, London, National Gallery 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. Eastlake, Diary, early October 1855, fol. Maurice Brock, Bronzino, trans. On the other hand, a sense of immediacy is conveyed by the sitter's partly open lips, as if he were about to speak. The effect of this spotlight is to insistently focus on the sitter, endowing him with a preternatural importance. 23, 1944-March 1, 1949; Purchased from Princeton: Princeton University Press, 1992. Taylor, Esq. All rights reserved. 88-98. Although the sitter cannot be identified, he is likely a member of Bronzino's close circle of literary . 1 (1990): 46, Christie, Manson and Woods, London, July 5, 1912, lot 15, by Knoedler and Co., New 9, pp. 21October 11, 2021. cat. Bronzino's Mannerism Our wonderful artist of the hour, Bronzino, adhered to the mannerism movement. Public Library, Glens Falls, New York, August 31-September 30, 1946, no. The Nelson-Atkins Museum of Art Kansas City, Missouri, United States. Firenze: ossia descrizione di tutte le cose che vi si trovano degne Bernard Berenson, Italian 17, as not by Pontormo. An While the formal vocabulary of Mannerism takes much from the later works of Michelangelo (14751564) and Raphael (14831520), its adherents generally favored compositional tension and instability rather than the balance and clarity of earlier Renaissance painting. Condition The Collections of the. 1528 to 1532 (Castello Sforzesco, Milan) in a number of respects (fig. That Bronzino would paint portraits of these two dear friends at the beginning of his career is not surprising. View the work online Artist: Agnolo di Cosimo (1503-72), who renamed himself Bronzino, was a practitioner of the climactic Renaissance style mannerism,. This photograph may not be reproduced in any medium without the specific written permission of, and acknowledgment of ownership by, The Nelson-Atkins Museum of Art. (Denver: The Denver Art no. York: Christies, May 31, 1989), 37n58. If you notice a mistake or have additional information about a particular artwork or image, Unknown Bronzino Catalogue A certain Matteo Sofferoni (d. 1564) was recorded as working in the Florentine customs office in 1525. Painting, The Nelson-Atkins Museum of Michael Churchman and Scott Erbes, High Ideals and Aspirations: The NelsonAtkins Museum of Art, 19331993 (Kansas City, MO: Nelson-Atkins File:Portrait of a Young Man MET Bronzino x-radiograph detail right hand.jpg; Category:Portrait of a Young Man with a Book (Agnolo Bronzino - Metropolitan Museum of Art) File usage on other wikis. 20v, National Gallery, London. Turner, R.A., Works by Altre interpretazioni lo vogliono per Francesco Salviati o il figlio maggiore del granduca Cosimo de' Medici. Furthermore, the slashing on the clothing creates a jagged outline thatalludes toanelectric and fashionably decorativequality. 99, p.104. Giuseppe In other words, the book is truly a financial ledger. cat. Sort by: Top Voted Questions Tips & Thanks Want to join the conversation? Thus the present portrait, which in stylistic comparisons alone, appears very close to Pontormos works of around 1528, is indeed early also because the inclusion of texts relies on an earlier tradition. Agnolo Bronzino's was the hand to hire for a power portrait in mid-16th-century Florence. New York: Penguin, 1967. This may be due to third party copyright restrictions. Research on artwork and images is an ongoing process, and the information about a 1 (January-February 1988): 24n11. (repro.). Full title: Portrait of a Young Man: Artist: Bronzino: Artist dates: 1503 - 1572 : Date made: probably 1550-5: Medium and support: Oil on wood: Dimensions: 75 57.5 cm: Acquisition credit: On loan from a private collection: Inventory number: L40 . [10]Vasari-Milanesi, vol. to Greco: The Age of Mannerism, exh. The book is doubtless a collection of poems. He sure is self-assured. Vasaris design for a decorative painting in the Palazzo Vecchio illustrates the mythological references and complicated allegories in vogue among the Florentine elite (1971.273). If an internal link led you here, you may wish to change the link to point directly to the intended article. It entered the Metropolitan Museum of Art in New York in 1929, where it is still held. Phillippe Costamagna, Osservazioni sullattivit giovanile The controlled atmosphere of court life is reflected in the slightly aloof detachment of this portrait of an unknown sitter. New York: The Metropolitan Museum of Art, 2010. John Herron Art Museum, 1954), (repro.). 20v, undated entry (but Royal Collection Trust, Windsow Castle, Fig. Knoedler: One Hundred Years, 1846-1946. , exh. Knoedler & Co, 1946), 5, (repro.). It likely depicts a literary friend of the artist holding open a collection of poetry. The Collections of the NelsonAtkins Museum of Art (Kansas City, MO: The NelsonAtkins Museum Bronzino achieved his greatest distinction in these years as a portrait painter, and by the early 1540s he had become the leading exponent in Florence. Original reporting and incisive analysis, direct from the Guardian every morning, 2023 Guardian News & Media Limited or its affiliated companies. However, an image of this painting is not available to download. His official portraits of Cosimo I and his wife, Duchess Eleonora of Toledo, demonstrate Bronzinos extraordinary technical skill and convey an atmosphere of aristocratic dignity (08.262). This page was last edited on 27 September 2020, at 18:32. May 8-July 29, 2018, Palazzo Pitti, Florence; September 7, 2018-January 6, 2019, The Morgan Library & Museum, New York; and February 5-April 28, 2019, The J. Paul Getty Museum, Los Angeles), cat. He is depicted full face against a plain gray background; his eyes look slightly to the right. Finocchio, Ross. 81-95; Ibid. Infamous Roman Emperors: Caligula the Cruel, Meddling with Memlings Portinari Portrait. The sitters all face the spectator, are positioned slightly obliquely to the picture plane, and are sharply lit from the upper left. Painting,, Janet Majure, The Curious Case of the Crimson Tunic,, Italian Paintings, 1300-1800: Our wonderful artist of the hour,Bronzino, adhered to the mannerism movement. By Holland Cotter. Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more. It has previously been thought that this portrait may represent one of the elder sons of Duke Cosimo de' Medici, Bronzino's principal patron. Ewyn Evenstar 10 years ago At The Portrait of a Young Man is one of Bronzino's greatest portraits. Ann Tzeutschler Lurie, Angolo Bronzino: Portrait of a Exhibition of Paintings and Prints of Every Description on the Occasion of L.R., Honderdjarig Bestaan van M. Knoedler & Co., Phoenix: Maandschrift voor Beeldende Kunst 1, Angelo Bronzino 063.jpg 2,536 3,246; 374 KB Portrait of a Young Man MET Bronzino detail left hand.jpg 4,575 3,567; 1,004 KB September 24, 2010- January 23, 2011, Palazzo Strozzi, Florence), cat. Knoedler: One Hundred Years, 1846- 1946, M. Knoedler and Co., Paris, April 1-27, Bronzino has used this same approach around the inner corner of the eyes, down the nose, and in the wonderful individual hairs of the beard. Tav. Catalogue Scholarly consensus has coalesced around the notion that the painting is an early work by Agnolo Bronzino. Important Painting by Pontormo from the Collection of Chauncey D. Stillman. These grotesque faces offer adistinct contrast to the youths handsome face. m. 0,94, lar. Master Drawings (London: Sothebys, July 3, 1989), 10. Vasari records that Franciabigio painted Sofferoni but there is no reason to identify him as the sitter of the Berlin picture. 15101592), Portraiture in Renaissance and Baroque Europe, The Printed Image in the West: History and Techniques, Profane Love and Erotic Art in the Italian Renaissance, Renaissance Drawings: Material and Function, Sixteenth-Century Painting in Emilia-Romagna, Sixteenth-Century Painting in Venice and the Veneto, Woodcut Book Illustration in Renaissance Italy: The First Illustrated Books. Giorgio Steininger, 1853), 549. (Colorado Springs: Colorado Springs Pictures of the Renaissance: Florentine School, vol.1 (London and New York: A clue may lie in the sculpture of the god Bacchus which is revealed behind the pink curtain. , exh. Franois, Nuova guida della citta di Derived elicrom the Italian maniera, used by sixteenth-century artist and biographer Giorgio Vasari, the term Mannerism refers to the movement in the visual arts that spread through much of Europe between the High Renaissance and Baroque periods. (95.6 74.9 cm). Phaidon Press, 1963), 43. [9] Matteo Sofferonis connections to the Pontormo-Bronzino-Allori group coupled with his profession make him a plausible candidate for the identity of the sitter in this early portrait by Bronzino. Renaissance and Baroque Art, exh. Jan. 21, 2010. Alloris father, Tofano Allori, a spadaio who worked for both Duke Alessandro de Medici and Cosimo I de Medici was the best friend of Bronzino. This portraitamong Bronzino's most arrestingwas painted in the 1530s. 21 1).1 Even though the instr. The self-possessed aloofness of the sitter and the austere elegance of the Palace interior are hallmarks of the courtly style of portraiture he created for Medicean Florence. An Indianapolis, February 14-March 28, 1954, no. Burton B. Fredericksen and Federico Zeri. (577 720 pixels, file size: 253 KB, MIME type: https://creativecommons.org/licenses/by-sa/4.0, Creative Commons Attribution-Share Alike 4.0. The William Rockhill Nelson Gallery of Art and Mary 1912): 35, (repro.). Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1949), 42, (repro.). [7]Moreover, a few words and symbols can be deciphered on its pages. 16. Theres one at theLouvreshowing a youth holding a statue. Florentiner Manierismus,. Public Library, Glens Falls, New York, August 31-September 30, 1946, no. BronzinosPortrait of a Young Mancontains many cluesalluding to the young mans identity, you just have to look closely! R. Ward and S. Heffley, Restoration Reveals Full Beauty of (Florence: G Piatti, 1841), 428. Robert Barry Simon, Bronzinos Portrait of Guidubaldo della Rovere Agnolo Bronzino 1532. Category: Art History 101, Louvre, National Gallery, NYC, The Met, Tags: art history, Bronzino, identity, London Museums, Louvre Collection, Mannerism, masks, Paris Museums, Portrait of a Young Man, Portraitists, portraiture, THATMuse, The Met, The Metropolitan Museum of Art. In the far right margin of the right page is the symbol for scudi, another monetary amount, apparently followed by 11. Federigo Fantozzi, Nuova guida, ovvero descrizione storico-artistico-critica della citta e contorni di Firenze, Florence, 1842, p. 556: Uomo che scrive. With his fingers placed between the books pages, the young man leans againstan intricate table. From The Metropolitan Museum of Art, Agnolo Bronzino, Portrait of a Young Man (ca. nos. (c) 2007 The Nelson Gallery Foundation-All Reproduction Rights Reserved. A91.1 as a copy or replica of the ex-Lanfranconi picture. di alessandro Allori- Seconda parte- Les portraits,, An 103-5. . 1989): 240. 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. I dont know about you but, to me, it resembles a Halloween creature orscarecrow! Certainly anyone of a number of people could use such a book, but there is one candidate who was a close friend of both Pontormo and Bronzino in the 1520s. Museum, 1947), 10, (repro.). 13424, on joint account with By painting the fabric with a soft sheen, Bronzino alludes to the clothings expensive quality (its probably silk or cotton). Mannerist artists loved creating compositional tension and instability. The self-possessed aloofness of the sitter and the austere elegance of the Palace interior are hallmarks of the courtly style of portraiture he created for Medicean Florence. New York: The Metropolitan Museum of Art, 2000. Look closelyat the youths breeches and youll seethe impression of a mask in the fabrics folds. document.getElementById( "ak_js_2" ).setAttribute( "value", ( new Date() ).getTime() ); Click to share on Twitter (Opens in new window), Click to share on Facebook (Opens in new window). Author, curator and Bronzino expert Carlo Falciani shares his insights on Agnolo Bronzino's Portrait of a young man with a book, a highlight of Old Masters Week at Christie's, New York. Find more prominent pieces of portrait at Wikiart.org - best visual art database. Corsini Collection, Palazzo Corsini, Florence, by 1842, New York, Christies, 27 January 2015, lot 129, on loan to New Haven, Yale University Art Gallery, 2016 2020. [6]In the other case, that of the Knight of Rhodes who looks up from reading a letter, only the date 1514 is legible. 20002023 The Metropolitan Museum of Art. York, stock book 3, no. Oil on wood, 37 29 in. James Thomas Herbert Baily, The Taylor Collection,. [5] Although both portraits differ from Bronzinos image in including backgrounds, they are similar in that the sitters directly look out at the viewer and the paper or books displayed by the sitter are written in normal everyday script and are, apparently deliberately, illegible in part. 21 TheMetropolitan Museum of Artcontains BronzinosPortrait of a Young Man. 99, p. 101, 1 Jacopo da Pontormo, Portrait of a Halberdier (Francesco Guardi), 1528-30, oil on panel transferred to canvas, 95.3 x 73 cm. 1530, private collection, Fig. This file contains additional information such as Exif metadata which may have been added by the digital camera, scanner, or software program used to create or digitize it. (Busto Arsizio: Bromante, 1960), unpaginated, (repro.). Herbert Keutner, Zu einigen Bildnissen des frhen 202-03, no. cat. fig. Exhibition of Paintings and Prints of Every Description on the Occasion of (exh. Better yet, join us for atreasure hunt! 130-33 (entry by Giada Damen and Davide Gasparotto). Born in Monticelli near Florence, he began his studies with Raffaellino del Garbo. http://www.metmuseum.org/toah/hd/zino/hd_zino.htm (October 2003), Bambach, Carmen C., Philippe Costamagna, Janet Cox-Rearick, Marzia Faletti, George R. Goldner, and Elizabeth Pilliod. Fine Arts Center, 1947), unpaginated, (repro.). It is based on Bronzinos official portrait of the Duke of 1559, but is unlikely to have been painted by Bronzino or his assistants.Prior to Medici rule, Florence had been a republic. All rights reserved. Knoedler & Co, 1946), 5, (repro.). The Medici: Portraits and Politics, 15121570, The Metropolitan Museum of Art, New York, June
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