Drawings by the great Italian Mannerist painter and poet Agnolo Bronzino (1503-1572) are extremely rare. This important and beautiful publication brings together for the first time nearly all of the sixty drawings attributed to this leading draftsman of the 16th century. Each drawing is illustrated in color, discussed in detail, and shown with many comparative photographs. Bronzino's technical virtuosity as a draftsman and his mastery of anatomy and perspective are vividly apparent in each stroke of the chalk, pen, or brush. The younger generations of Florentine artists particularly admired Bronzino for his technical virtuosity as a painter, and Giorgio Vasari praised him for his powers as a disegnatore (designer and draftsman)
This book accompanies an exhibition of the same name held at the Philadelphia Museum of Art, upon the completion of conservation of Pontormo s famous portrait of Duke Alessandro de Medici.
For Bronzino, art was the imitation of art, not the faithful imitation of nature. This book explains how he borrowed from other art forms, notable sculpture, and it looks at the relationship between the artist's paintings
124) May I845 Accepts honorary membership in the Association des Artistes Peintres, Sculpteurs, Graveurs, Architectes et Dessinateurs, Paris, recently formed by the baron Taylor (1789—1879). (Paris, F ondation Taylor 1995, p.
21), which was probably made in 1546–47 using an indirect casting method based on a model (Brewer and McNamara 2012). Although it is not possible to ascertain definitively the method used to make the portrait of Bindo, such similarities ...
A collection of essays on Agnolo Bronzino in honor of Professor Craig Hugh Smyth, art historian, conservator, expert on Mannerism, and one of the "monuments men" during World War II.
This book - and the conversation it records - is part of the ongoing discovery and rediscovery of our cultural heritage. Every reader is also a part of the process - so welcome to the conversation!" -- pages 7-9.
Jacopo Carrucci (1494-1557), named Pontormo after his birthplace, was the main representative of Florentine Mannerism, the seventy-five-year period that links the High Renaissance and early Baroque eras. Following the success...
His extremely personal style was much influenced by Michelangelo, though he also drew from northern art, especially the work of Albrecht Dürer.
In this volume, Rebekah Compton offers the first survey of Venus in the art, culture, and governance of Florence from 1300 to 1600.
"Cox-Rearick indicates that the iconographic program of the chapel was, from its initiation, linked to an astonishing degree to the fortunes-actual and anticipated-of the young Duke Cosimo and that the successive changes in the chapel were ...