Full Name: Agnolo di Cosimo
Short Name: Bronzino
Alternative Names: IL Bronzino, Agnolo Bronzino
Date of Birth: 17 Nov 1503
Date of Death: 23 Nov 1572
Mediums: Oil, Tempera, Metal, Wood, Other
Art Movement: Mannerism
Hometown: Florence, Italy
Agnolo Bronzino of Florence, Italy, known as Il Bronzino, was a Mannerist painter. Blending styles of the late High Renaissance into the early Baroque period, Mannerists frequently delineated their subjects in unnatural structures. Bronzino’s works have been depicted as “frosty” representations that put a chasm between the subject and the viewer.
Bronzino’s genuine name was Agnolo di Cosimo, and the epithet Bronzino may be ascribed to the dull appearances of the subjects in his representations. He was conceived in Monticello, simply outside Florence and spent the vast majority of his life in Florence, seldom leaving the city. In the wake of concentrating on with Raffaellino del Garbo, an early Florentine Renaissance painter, Bronzino turned into an understudy of Jacopo Pontormo, an author of the Florentine Mannerist style. It was under Pontormo, that Bronzino was incredibly affected, but on the other hand was one of only a handful couple of understudies to persist concentrates on under the troublesome Andrea del Sarto. It was under both Pontormo and Sarto that Il Bronzino was affected by Michelangelo and Leonardo Da Vinci; who Pontormo was even an understudy of.
At the point when the Plague softened out up Florence in 1522, Pontormo took Bronzino to the Certosa di Galuzzo Monastery where they dealt with a progression of Frescoes together. This was a persuasive time for him, as he started to pick up a notoriety working for the Duke or Urbino. He came back to Florence in 1532 and finished his own Fresco, and in addition Portraits. In the wake of working again some with Pontormo, Bronzino got support from the Duke of Tuscany, Cosimo de’ Medici, in the wake of making improvements for the Duke’s wedding to Eleonora di Toledo.
Cosimo de’ Medici
His representations of Cosimo and Eleonora, among different figures of the Duke’s court, uncovered a fragile coldness and detached vicinity in his subjects. This characterized Bronzino’s unemotional, yet polished picture system. The works were generally welcomed and went ahead to impact a century of European court picture. The Duke likewise delegated Bronzino to paint Eleonora’s private church, which he started in 1545 and completed a quarter century.
As a Spanish aristocrat, Eleonora conveyed impact into Bronzino’s work of a smooth, yet strict regard for custom and service. With this he contributed a veneer like or marble-like, tone, recognizable to Florentine Mannerism. While here and there alluded to as verging on Academic Art, it didn’t need graceful imagination; as found in his Portrait of a Genoese Admiral delineated as Neptune, God of the Sea.
Andrea Doria as Neptune
Some of his impact was found in serving to begin the Accademia del Disegno – the Florence Academy of Fine Arts with his companion, Italian painter and draftsman, Giorgio Vasari. A lot of Bronzino’s life is made due in the Vasari’s renowned accounts, committed to Medici’s court in 1550, and considered the first comprehensive history of Italian workmanship.
Extra to his Frescoes and Portraits, Bronzino made arrangement of religious works, The Israelites going through the Red Sea, (1542), The Virgin’s Resurrection Mary (1552) and The Martyrdom of San Lorenzo (1569). He likewise made sensual nudes, while as yet catching good moral stories in his renowned piece Venus, Cupid, Folly and Time. This piece is still seen today all through pop culture.
Bronzino’s last fragmented work was a substantial Fresco done in San Lorenzo, which he began in 1569, yet passed on in 1572. A dearest understudy of his, Alessandro Allori, finished the work in his honor. A hefty portion of Bronzino’s most respected works are still in Florence, additionally show up in the National Gallery of London.