Agnolo di Cosimo

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2014. 4. 12.

 

 

 

 

 

사랑의 승리의 우화 1545 런던 내셔널 갤러리소장

 

 

Agnolo di Cosimo (November 17, 1503 November 23, 1572), usually known as Il Bronzino, or Agnolo Bronzino (mistaken attempts also have been made in the past to assert his name was Agnolo Tori and even Angelo (Agnolo) Allori), was an Italian Mannerist painter from Florence. His sobriquet, Bronzino, in all probability refers to his relatively dark skin

Bronzino was born in Florence, the son of a butcher. According to his contemporary Vasari, Bronzino was a pupil first of Raffaellino del Garbo, and then of Pontormo, to whom he was apprenticed at 14. Pontormo is thought to have introduced a portrait of Bronzino as a child (seated on a step) into one of his series on Joseph in Egypt now in the National Gallery, London. Pontormo exercised a dominant influence on Bronzino's developing style, and the two were to remain collaborators for most of the former's life. An early example of Bronzino's hand has often been detected in the Capponi Chapel in the church of Santa Felicita by the Ponte Vecchio in Florence. Pontormo designed the interior and executed the altarpiece, the masterly Deposition from the Cross and the sidewall fresco Annunciation. Bronzino apparently was assigned the frescoes on the dome, which however have not survived. Of the four empanelled tondi or roundels depicting each of the evangelists, two were said by Vasari to have been painted by Bronzino. His style however is so similar to his master's that scholars still debate the specific attributions.

 

Towards the end of his life, Bronzino took a prominent part in the activities of the Florentine Accademia delle Arti del Disegno, of which he was a founding member in 1563.

 

The painter Alessandro Allori was his favourite pupil, and Bronzino was living in the Allori family house at the time of his death in Florence in 1572 (Alessandro was also the father of Cristofano Allori). Bronzino spent the majority of his career in Florence.

 

Bronzino first received Medici patronage in 1539, when he was one of the many artists chosen to execute the elaborate decorations for the wedding of Cosimo I de' Medici to Eleonora di Toledo, daughter of the Viceroy of Naples. It was not long before he became, and remained for most of his career, the official court painter of the Duke and his court. His portrait figuresoften read as static, elegant, and stylish exemplars of unemotional haughtiness and assuranceinfluenced the course of European court portraiture for a century. These well known paintings exist in many workshop versions and copies. In addition to images of the Florentine elite, Bronzino also painted idealized portraits of the poets Dante (c. 1530, now in Washington, DC) and Petrarch.

 

 

  Agnolo_Bronzino_-_A_Young_Woman_and_Her_Little_Boy_-_Google_Art_Project

 

 

Bronzino's best known works comprise the aforementioned series of the duke and duchess, Cosimo and Eleonora, and figures of their court such as Bartolomeo Panciatichi and his wife Lucrezia. These paintings, especially those of the duchess, are known for their minute attention to the detail of her costume, which almost takes on a personality of its own in the image at right. Here the Duchess is pictured with her second son Giovanni, who died of malaria in 1562, along with his mother; however it is the sumptuous fabric of the dress that takes up more space on the canvas than either of the sitters. Indeed, the dress itself has been the object of some scholarly debate. The elaborate gown has been rumored to be so beloved by the duchess that she was ultimately buried in it; when this myth was debunked, others suggested that perhaps the garment never existed at all and Bronzino invented the entire thing, perhaps working only from a fabric swatch. In any case, this picture was reproduced over and over by Bronzino and his shop, becoming one of the most iconic images of the duchess. The version pictured here is in the Uffizi Gallery, and is one of the finest surviving examples.

 

Bronzino's so-called "allegorical portraits", such as that of a Genoese admiral, Andrea Doria as Neptune, are less typical but possibly even more fascinating due to the peculiarity of placing a publicly recognized personality in the nude as a mythical figure. Finally, in addition to being a painter, Bronzino was also a poet, and his most personal portraits are perhaps those of other literary figures such as that of his friend the poet Laura Battiferri

 

 

Bronzino_-_Eleonora_di_Toledo_col_figlio_Giovanni_-_Google_Art_Project 에레오노라 디 톨레도

 

 

 

아뇨로 · 부론즈치노 (Agnolo Bronzino, 15031117- 15721123)는 매너리즘 시기의 이탈리아 피렌체의 화가였다 본명은 아뇨로 디 코지모 디 마리아노 토리 (Agnolo di Cosimo). 부론즈치노라는 애칭은 아마도 그의 머리 색깔이었다 " 청동 "색을 의미하는 이탈리아어"브론저에서 유래한다. 메디치가의 피렌체 공작 코지모 1 세 의 궁정 화가로 활약한다. "사랑의 승리의 우화로 대표되는 화풍은 매우 지적이고 정교한 아름다움으로 가득 차있다. 또한 초상화에도 많은 뛰어난 작품을 남기고 있다.

 

부론즈치노는 15031117일 피렌체 근교의 가난한 백정의 아들로 태어났다. 부론즈치노는 시작은 라화에리노 델 가르보 의 제자가 되었고 이어서 1515년경부터 뽄토루모 의 공방에서 일을 시작했다. 1523년부터 25년에 걸쳐 갓룻초의 카르 투 지오 수도원의 회랑 장식에 참여했고 이어서 산타 펠리 치타 교회 캇뽀니 예배당의 장식을 스승 뽄토루모 함께 했다. 캇뽀니 예배당의 천장에있는 4개의 원형 패널 안에 두 부론쯔치노의 작품을만들게 되어있다.

1531년에는 델라 로베 레 가정 하에서 일하기위해 페사로 이주했다. 1530년부터 45년에 걸쳐 제작 된 일련의 초상 우고리노 · 마르 텔리의 초상»«판차 티키 부부의 초상»은 예술가로서의 새로운 전기가 되었다.

1539년 포 지오 아 카이아노 장식에 종사하고 있었다 뽄토루모의 요청에 의해 피렌체에 귀환했다. 피렌체 공작 코지모 일세와 에레오노라 디 톨레도의 결혼 축제를 위한 장식에 종사 한 후 그는 메디치의 궁정화가가 되었다, 두 칼레 궁전에서 (현 베키오 궁전 내)의 공 왕비 에레오노라 디 톨레도 내 용 예배당의 장식을 하였다. 궁정 화가로 공작 가족의 일련의 초상화를 제작하고 또 메디치 가문에 의해 설립된지 얼마 않된 철자 방직 공장을 위한 수많은 밑그림을 제작했다.

 

1557년 뽄토루모 사후 산 로렌조에서 미완성되어 그의 프레스코 장식을 완성 했다.

부론즈치노는 아카데미아 델 디제뇨의 설립에 관련되어있다 1563년에는 설립자의 한 사람이되었다.

15721123일에 제자이며 아들처럼 여기고 있던 알레산드로 아로리의 집에서 사망하였으며 산 크리스토 포로 데이 아디마리 교회에 묻혔다.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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