Bronzino
by Maurice Brock
from Flammarion
Eschewing a chronological approach, the author examines the paintings according to genre, focusing above all on Bronzino's portraits and religiouslittle-known paintings, and in particular on the ltitle-known altarpieces and private devotional pictures. 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
Bronzino (Chaucer Library of Art)
by Charles McCorquodale
from Chaucer Press
Few painters could be said to have shaped posterityÂ’s image of a particular society against the historical and social background as did Bronzino. His portraits, religious subjects and mythological scenes seem to crystallize the urbanity, luxury, elegant erudition and cruelty of the Italian mid-sixteenth century mannerist style. In this lucid and carefully researched study, Charles McCorquodale succeeds in presenting this difficult artist and his relationship to contemporary art in Florence in a manner that simultaneously unravels and dispels many of the misunderstandings of BronzinoÂ’s oeuvre. The author clearly shows that the artistÂ’s own claim to have been the last great painter of the Florentine Renaissance is fundamentally true; as a portraitist he stands amongst Titian, Rubens and Ingres; as a colorist his palette of radiant hues and deep tonality places his work within a category of sophistication unprecedented during the Renaissance and scarcely equaled since.
Bronzino as draughtsman;: An introduction, with notes on his portraiture and tapestries
Pontormo, Bronzino, and the Medici: The Transformation of the Renaissance Portrait in Florence
by Carl Brandon Strehlke
from Pennsylvania State University Press
Bronzino's Chapel of Eleonora in the Palazzo Vecchio (California Studies in the History of Art)
by Janet Cox-Rearick
from University of California Press
Do the sacred decorations of a Florentine Renaissance chapel--saints, symbols, and scriptural stories--hold personal and political meanings? Cox-Rearick's ground-breaking book explores the message hidden in the frescoes and altar panels of the Chapel of Eleonora di Toledo, painted in the early 1540s by Agnolo Bronzino for the Spanish-born wife of Duke Cosimo I de Medici. Bronzino, then the chief painter to the Medici court, was largely responsible for the invention in Florence of the highly self-conscious, elegant Maniera style. Cox-Rearick interweaves her account of the Medici biography with an examination of Bronzino's commission in the broader context of his oeuvre.
Cox-Rearick reveals the Chapel of Eleonora as an intimately devised decorative program that transmits messages about its patrons and Medici rule. Detailed color photographs of the newly restored art splendidly document this early tour de force of a major artist whose works are still relatively unexamined.
PONTORMO BRONZINO & ALLORI
Bronzino: Renaissance Painter as Poet. (Reviews). (book review): An article from: Renaissance Quarterly
This digital document is an article from Renaissance Quarterly, published by Renaissance Society of America on June 22, 2002. The length of the article is 846 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.
Citation Details
Title: Bronzino: Renaissance Painter as Poet. (Reviews). (book review)
Author: Victoria Kirkham
Publication: Renaissance Quarterly (Refereed)
Date: June 22, 2002
Publisher: Renaissance Society of America
Volume: 55 Issue: 2 Page: 698(2)
Article Type: Book Review
Distributed by Thomson Gale
La Favola di Apollo e Marsia di Agnolo Bronzino
Bronzino (Scala Art Series)
by Alessandro Cecchi
from Trans-Atlantic Publications
Bronzino As Draughtsman: An Introduction
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