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Topic: Bronzino

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	Biography
		Bronzino was deeply attached to Pontormo and his style was heavily indebted to his master.
		Bronzino was also a poet, and his most personal portraits are perhaps those of other literary figures (Laura Battiferri, Palazzo Vecchio, Florence, c.1560).
		Bronzino's skill with the nude was better deployed in the celebrated Venus, Cupid, Folly, and Time (National Gallery, London), which conveys strong feelings or eroticism under the pretext of a moralizing allegory.
	www.kfki.hu /~arthp/bio/b/bronzino/biograph.html (316 words)

	Il Bronzino - HighBeam Encyclopedia (Site not responding. Last check: 2007-11-03)
		Bronzino, Il, 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.
		In 1540 he became court painter to Cosimo I. Bronzino's sophisticated portraits are cold, unemotionally analytical and painted in a superbly controlled technique.
	www.encyclopedia.com /doc/1E1-bronzino.html (306 words)

	History of Art:The High Renaissance, Mannerism - Agnolo Bronzino
		Bronzino was greatly influenced by the work of his teacher, the Florentine painter Jacopo da Pontormo.
		Bronzino adapted his master's eccentric, expressive style (early Mannerism) to create a brilliant, precisely linear style of his own that was also partly influenced by Michelangelo and the late works of Raphael.
		Bronzino served as the court painter to Cosimo I, duke of Florence, from 1539 until his death.
	www.all-art.org /early_renaissance/bronzino1.html (247 words)

	[No title]
		Bronzino offered his own take on this theme, infused with new anxieties about the body seen in mid-century court and church culture after the Sack of Rome (1527) which was widely explained as divine punishment for sinful ways.
		In Dio and Bronzino, the allegory of the lemnia was central to the larger discussion.
		Bronzino elaborated the nexus of courtly greed and lust by designing a crown for Venus with a large emerald parting the legs of a reclining, naked woman carved in gold.
	oak.conncoll.edu /rwbal/Textbook4Sale/BronzinoVenusCupidTime.doc (7173 words)

	jonno.com / bronzino: notes toward a queer semiotic
		The young man's face is particularly connected by the verticals in his jacket to the grotesque face formed by the folds in his breeches (a face which I had never noticed, actually, until the museum's wall label pointed it out).
		The convention of the portrait-as- vanitas suggested here is modified by Bronzino: while the young man's beauty as recorded in the portrait is eternal, protected as it is by his sash and left hand, there is still something threatening lurking (literally) "below the belt".
		As I hope to have demonstrated in the preceding analysis of Bronzino and his work, two of the most definitive characteristics of contemporary queer theory are its heterogeneity and fertility, terms not without their respective ironies.
	www.jonno.com /words/bronzino_3.html (882 words)

	Agnolo di Cosimo - Wikipedia, the free encyclopedia
		Bronzino first came to the Medici patronage in 1539 to carry out the decorations for the wedding of Cosimo de' Medici with the beautiful and rich Eleonora of Toledo, the daughter of the Viceroy of Naples.
		Bronzino was also a poet, and his most personal portraits are perhaps those of other literary figures such as Laura Battiferri, (Palazzo Vecchio, Florence, c.
		Bronzino's skill with the nude was better deployed in the celebrated but crowded Venus, Cupid, Folly and Time, which conveys strong feelings of eroticism under the pretext of a moralizing allegory.
	en.wikipedia.org /wiki/Bronzino (611 words)

	About Agnolo Bronzino (Site not responding. Last check: 2007-11-03)
		Bronzino, Agnolo (1503 - 1572), was born in Monticelli near Florence in 1503, and trained with Pontormo, whose Mannerist style he took on, lengthening and sometimes rounding off the shapes to give a harmonious effect to the composition, using also the chiaroscuro technique for the same purpose.
		Bronzino also did sketches for tapestries and frescos, including the "Biblical Scenes" at the Palazzo Vecchio, but he also used mythological themes, as in the "Allegory" at London's National Gallery, a splendid picture of a nymph or goddess surrounded by putti and the openly angry tetra Calumny.
		The main recurrent aspect of the work of this artist, who died in 1572, is the soft light which illuminates his figures, especially lighting up their faces and figures, which seem modeled like statues or precious stones.
	www.vincent.nl /gallery/about/bronzino.htm (196 words)

	Agnolo Bronzino Text
		"Agnolo Bronzino was the leading court painter of the Florentine School in the middle of the sixteenth century.
		Continuing his master's interest in light, Bronzino developed a rich feeling for color: his paintings are distinguished by a sudden burst of raspberry-red or icy-blue.
		As court painter to the first absolute ruler Cosimo de Medici, Bronzino undertook the portrait of his wife and son, Eleanora Toledo and her Son.
	www.rit.edu /~bdr4647/art_project/agnolo_text.htm (165 words)

	JAIC 1998, Volume 37, Number 2, Article 4 (pp. 211 to 221)
		Agnolo Bronzino (1503–72) was court painter to Cosimo de'Medici, the duke of Florence from 1537 to 1574.
		According to the account of the disinterment of her tomb in 1857, she was found to have been buried wearing the gold and pearl hairnet seen in the portrait, which may account for the misunderstanding (Arnold 1995).
		It has also been suggested that Bronzino was merely given a piece of fabric with which to create the garment for the portrait (Landini 1995), though this seems unlikely given the number of portraits showing her in the gown.
	aic.stanford.edu /jaic/articles/jaic37-02-004.html (4375 words)

	Amazon.ca: Bronzino : Renaissance Painter as Poet: Books: Deborah Parker (Site not responding. Last check: 2007-11-03)
		Bronzino's stature as one of the great painters of the Florentine Renaissance has long been recognized.
		Seeking to clarify the meaning of Bronzino's poems, Deborah Parker argues that they are considerable literary achievements.
		Importantly, she demonstrates that our understanding of Bronzino's paintings is incomplete without careful attention to his poetry.
	www.amazon.ca /Bronzino-Renaissance-Painter-as-Poet/dp/0521781663 (515 words)

	Agnolo Bronzino (Getty Museum) (Site not responding. Last check: 2007-11-03)
		Mannerist painter and poet Agnolo di Cosimo Bronzino was the pupil of Pontormo, who influenced him heavily early in his career.
		Bronzino expressed the material world in his portraits; the enameled colors and attention to depicting details like his sitters' lace collars, hair, and jewelry, and even the veins in their hands gave his portraits a remote decorativeness.
		In his later work, Bronzino discarded his frozen passion, conceiving his public paintings as cumulative displays of his encyclopedic knowledge of art history and his talent for assimilating it into his own works, a notion that also typified Mannerism.
	www.getty.edu /art/collections/bio/a895-1.html (207 words)

	Anti Essays : Free Essays on Velazquez and Bronzino comparison Essay
		Agnolo Bronzino (1503-1572) was a brilliant Italian painter of the High mannerist style.
		The subject whom is unknown is understood by the Metropolitan Museum to be someone perhaps in the literary circle Bronzino was associated with.
		Bronzino was known to be a poet and probably did this portrait for a close friend.
	www.antiessays.com /free-essays/1532.html (1244 words)

	Bronzino - Biography
		Bronzino, the leading Mannerist in mid-1500s Florence, combined rich colour, elegant drawing, and sculptural form in his sophisticated art.
		A poet, Bronzino co-founded Florence’s Accademia degli Umidi (Accademia Fiorentina) in 1540 (rejoining after expulsion) and was active from 1566 in the Accademia di Disegno.
		Bronzino frescoed Eleonora’s chapel (Florence, Palazzo Vecchio) in 1540-45.
	cybermuse.gallery.ca /cybermuse/docs/bio_artistid739_e.jsp (670 words)

	Bronzino Il - Search Results - MSN Encarta
		Bronzino, Il (1503-1572), Italian painter, who was the outstanding artist of the Tuscan High Mannerist style.
		Il Bronzino, one of Pontormo's followers, and a painter highly regarded by the Medici, was the most accomplished portraitist in the Mannerist style....
		Mannerism as a separate style is first definable after about 1520 in Rome in the work of Raphael's pupil Giulio Romano.
	uk.encarta.msn.com /Bronzino_Il.html (100 words)

	The Vincent van Gogh Gallery
		In 1540 Duke Cosmic I, de'Medici appointed Il Bronzino his court painter and in 1545 the artist began the task (not completed until 1565) of decorating the private chapel of the Duke's wife, Eleanor of Toledo.
		Il Bronzino is most famous for his portraits, delicately formal in style, coldly clear, and with an enamel-like surface.
		Il Bronzino died in 1572, in San Lorenzo, where, since 1569, he had been working on a large fresco, which was completed by his pupil Alessandro Allori.
	www.vangoghgallery.com /artistbios/Agnolo_Bronzino.html (294 words)

	Mannerism - Bronzino
		Bronzino was the best portrayer of the frozen, rigid etiquette of the Grand Duke's court in Florence.
		By 1540 Bronzino was the darling of the Medici court and Florentine aristocracy, not least thanks to his literary talents, for he was also poet.
		He alternated his production of smooth, almost crystalline portraits, with noteworthy decorative schemes, such as the frescos in the Medici villas, and from 1560 onward, he produced numerous religious paintings for altars in the major Florentine churches.
	www.bc.edu /bc_org/avp/cas/his/CoreArt/art/bar_bronz.html (175 words)

	A concise history of the artist Agnolo Bronzino (Site not responding. Last check: 2007-11-03)
		Bronzino was a Florentine Mannerist painter, pupil (and adopted son) of Pontormo whose work he emulated but never quite achieved the emotional strengths evident in Pontormo's works.
		His main successes lay in the field of Portraiture in which he excelled, being appointed Court Painter to Duke Cosimo I de Medici for a large part of his career and influencing the course of European Court Portraiture for the next 100 years.
		Bronzino's skill and display of the nude is renowned.
	bronzino.netfirms.com (272 words)

	St Matthew by BRONZINO, Agnolo
		As Vasari only attributes two of the tondi to Bronzino, without specifying which, scholars are still divided over which and how many of them were painted by Bronzino, the apprentice to Pontormo.
		Probably Bronzino was responsible for the St Matthew with an intense gaze, half-closed mouth, and tousled red hair, painted with thickly laid-on and glowing brushstrokes and enlivened by the strong light that falls on the figure with a swirling crimson cloak, set against the dark background.
		Probably also Bronzino's is the St Mark with its palette of yellow and red tones contrasting with the green of the mantle wrapped around the figure, which looks as if it is peering through a window, an idea drawn from the Gospel.
	gallery.euroweb.hu /html/b/bronzino/3/3tondo4.html (316 words)

	Head of a Man (Getty Museum)
		Soft, careful lines create the curling strands of hair on his head, the pale fuzz on his chin, and his broad, piercing, almond-shaped eyes with their large irises.
		Bronzino probably made this drawing from life; slight pentimenti in the right ear and eye imply adjustments made in front of the live model.
		Bronzino drew this head as a study for a painted portrait of the young man, but no one has yet discovered the man's name.
	www.getty.edu /art/gettyguide/artObjectDetails?artobj=306 (163 words)

	Agnolo Bronzino Online
		Agnolo Bronzino at the National Gallery, London, UK Art Gallery of New South Wales, Sydney, Australia
		Bronzino's Chapel of Eleonora in the Palazzo Vecchio
		All images and text on this Agnolo Bronzino page are copyright 1999-2005 by John Malyon/Artcyclopedia, unless otherwise noted.
	www.artcyclopedia.com /artists/bronzino_agnolo.html (461 words)

	Mannerism: Bronzino (1503–1572) and his Contemporaries \| Special Topics Page \| Timeline of Art History \| The ... (Site not responding. Last check: 2007-11-03)
		By 1540, Pontormo's student Agnolo Bronzino (1503–1572) had become the leading artist working in this style in Florence and court painter to Cosimo I de' Medici, grand duke of Tuscany.
		Ducal patronage played an important part in Bronzino's career, as well in those of his contemporaries working in the Medici court, Francesco Salviati (1510–1563) and Giorgio Vasari (1511–1574).
		Typical of Bronzino are the extremely refined execution and graceful silhouette of his Portrait of a Young Man, in which the book, costume, and affected pose of the subject highlight his learning and social status (
	www.metmuseum.org /toah/hd/zino/hd_zino.htm (722 words)

	Pink Bronzino gown
		This gown is meant to be a replica of the gown Lucrezia Panciatichi is depicted in when Bronzino painted her portrait around 1540.
		It is quite silmilar to the Bronzino bodice, except for the pointed waist.
		Note that the structure in the thai silk is pretty like the structure seen in the Bronzino bodice.
	www.geocities.com /pisslei/bronzino (1497 words)

	Bronzino Oil Paintings, Bronzino Biography & Bronzino Gallery
		Bronzino was an Italian painter who was the outstanding artist of the Tuscan High Mannerist style.
		As court painter to the Medici in Florence, Bronzino produced large numbers of portraits as well as religious pictures.
		His style, which owed much to his teacher Jacopo da Pontormo, is cold, refined, aristocratic, and technically brilliant in its rendering of surface details and colors.
	www.huntfor.com /absoluteig/bronzino.htm (160 words)

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