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Angolo Bronzino, was born Agnolo di Cosimo. It is unclear why he was referred to as Bronzino, although a few rumors say it was because of his dark-colored skin. He was born in the 16th century in Monticelli, Italy. Monticelli was a suburb of Florence.
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Bronzino becomes a pupil of Pantormo, an artist that Bronzino adopted his style from for years. (balanced compositions, roundness of form, and luminosity.) The two shared a professional and personal relationship for 40 years. The photo here is Pontormo's portrait of Alessandro de' Medici, Duke of Florence, this portrait is often used to compare Pontormo and Bronzino's portrait style. (I will explain this more on the next event)
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This portrait by Bronzino, of Cosimo I de' Medici as Orpheus & Pontormo's portrait of Alessandro de' Medici are used to compare similarities found in the artist's styles. They are similar because both are portraits of important rulers of Florence. Both artists portray the subject in a strong pose that emphasizes intellect & involvement in the arts. Pontormo portrays the duke making a drawing & Bronzino portrays Cosimo as Orpheus, a poet & musician of greek mythology. Vignette is also utilized.
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This is one of Jacopo da Pontormo's most well known oil paintings. Bronzino was included in the painting as the boy seated on the steps in the foreground. (looking up at the boy with red tights.)
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Pontormo helped launch Bronzino's career by including him in completing important commissions. (a series of frescoes of the Passion of Christ in the Certosa Di Galluza) Pontormo and Bronzino moved to the Galluza to escape a plague outbreak in Florence at the time.
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This portrait is important because it is one of the first known paintings where Bronzino worked independently on the painting.
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Oil on wood. The man in the painting is not identified but because Bronzino was also quite the poet, it is believed that he is one of Bronzino's literary friends. The exact date of this painting is not clear because it is said it was completed at some time throughout the 1530s, but in some books it also said 1540...
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Bronzino contributed to wedding decorations for Cosimo I de' Medici, the Duke of Florence and his wife, Eleonora di Toledo. This is very important because this basically launched Bronzino's career as a court artist, he would work for the duke and his wife for the next six years or so.
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This was the first portrait that Bronzino would paint for Cosimo, the Duke of Florence. This painting helped initiate Bronzino's professional relationship with Cosimo.
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Bronzino's paintings would decorate the walls and ceilings of the chapel to honor the Cosimo's wife Eleonora di Toledo. The Chapel would be private to the Duke and his wife, as it was meant to be sort of a "gift" to her.
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Bronzino starts the Chapel for Cosimo's wife. He would work on the chapel by himself for a few years. Bronzino painted the ceiling to create an illusion of it looking like a vault occupied with Saints. Although Bronzino designed the ceiling, it was relative to the architectural fashion at the time.
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Another important fresco is added to the Chapel of Eleonora. This is a detail image from the fresco.
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This is a detail from a fresco that framed the entrance of Eleonora's Chapel. It is alongside "The Gathering of Manna" painting which would be completed later.
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This is the fresco on the right of the entrance wall next to "Moses Striking Water". I love the three of these images because they would be the first frescoes anyone would see when they first enter the chapel because the encase the entryway.
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Oil painting of the Cosimo I de' Medici's wife and son, Giovanni. This portrays Eleonora and her son in the most ideal way possible from their garments to their complexion and expression. This portrayal emphasizes that they were a family of importance. Although Bronzino's attention to texture and detail kind of sets this painting apart from others, it is still considered renaissance. Some critics point out that it is typical of court portraiture rather than being like a madonna & child painting.
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This piece is oil on wood and is rich in symbolism. The overall message of this painting had to do with love, pleasure, and all of its consequences. The painting was created at a time where sexually transmitted infections were arising. (Syphilis in particular). Bronzino wanted to convey an image of sex and temptation (Venus and Cupid) along with the consequences, such as syphilis. This piece influenced many artists to come and there has been BOOKS written on this piece alone.
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Bronzino completed the decoration of The Chapel of Eleonora di Toledo. Although he completed the chapel in this year, he would later be asked to repaint the altarpiece pictured in 1533 because it was dispatched and given as a gift.
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Another portrait of Cosimo I de' Medici. Although this is the same Duke from the 1539 painting, we can see how Bronzino's style has evolved. The subject is a bit less symbolic and more realistic.
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The deposition of Christ is created. Oil on wood. This piece was a part of The Chapel of Eleonora di Toledo. This is important because it portrays Bronzino's use of a cold palette and also reminds me of a much earlier painting of Bronzino. Called "St. Benedict in the Wilderness" because they both portray feelings of agony.
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Bronzino passes away at age 69, in Florence Italy.
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This piece was put on display in the National Gallery in London, this is very important because it refreshed people's minds on Bronzino's artwork and the influence he had. He took risks with this painting by portraying something very erotic and kind of gross honestly!
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Frank Jewett Mather, a leading figure of North American art history in the 20th century said "He was a vicious person, a cold aesthete, with few of the generous virtues that nourish the soul." On Bronzino's character, referring to An Allegory of Venus and Cupid.
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Was restored and visible for the first time to the public in the Palazzo Vecchio.
