Pietro Aretino, a 16th-century Italian poet and playwright, once said, "A portrait is a painting, sculpture, or other artistic representation of a person, in which the face and its expression is predominant." This statement holds true for Bronzino's portrait of a young man, which is a prime example of Renaissance portraiture at its finest.
Bronzino, also known as Agnolo di Cosimo, was a Florentine painter who was active during the early to mid-16th century. He was a contemporary of Michelangelo and is considered one of the most important artists of the Mannerist movement, which emerged in Italy during the High Renaissance and is characterized by its elongated and stylized forms, as well as its focus on artistic virtuosity.
The portrait of a young man by Bronzino is a stunning example of Mannerist portraiture. It is a full-length portrait of a handsome and fashionable young man standing in front of a plain background. The young man is dressed in a sumptuous black and gold outfit, complete with a black hat and gloves. His long, curly hair is styled in the latest fashion, and he exudes an air of confidence and sophistication.
One of the most striking aspects of the portrait is the young man's pose. He stands with his arms crossed over his chest, his head turned slightly to the side, and his eyes looking directly at the viewer. This pose conveys a sense of self-assurance and intelligence, as if the young man is challenging the viewer to engage with him.
Another notable aspect of the portrait is Bronzino's meticulous attention to detail. The artist has captured every nuance of the young man's appearance, from the texture of his clothing to the individual hairs on his head. The result is a highly realistic and lifelike depiction of the subject.
Bronzino's portrait of a young man is a testament to the artist's skill and dedication to his craft. It is a work of art that stands the test of time and continues to be admired for its beauty and technical mastery.
Bronzino
New York, 2021, pp. The more unusual was done, probably with the butt end of a brush, directly into the panel's thick white imprimitura, or preparation layer. . Bronzino, a mannerist artist,delighted in creating witty paintings with hidden, complex meanings. It is clear that they are meant to provide a contrast to the sitter's refined facial features and bearing.
Bronzino (Agnolo di Cosimo di Mariano)
The long history of this painting attests to its importance. Matteo was the brother or step-brother of Dianora Sofferoni, the mother of Alessandro Allori. June 5, 1930, attributes it to Bronzino and considers it the portrait of a Florentine nobleman, not the Duke of Urbino. The tondo depicting Saint Matthew, attributed to Bronzino, is notably similar in concept to this young man. Read more Read less Federigo Fantozzi, Nuova guida, ovvero descrizione storico-artistico-critica della citta e contorni di Firenze, Florence, 1842, p.
Agnolo Bronzino / Portrait of a Young Man with a Book
Galleria del Senatore Luciano Bonaparte, Roma. His face is porcelain-hard, yet he blushes slightly. Many of the artist's original compositional ideas are indicated in this type of drawing these can be seen as well in the x-radiograph : they include the first position of the proper right hand and book, with the hand in stricter profile and the book shown with its spine facing the viewer and covers splayed; the placement of the proper left hand with the thumb tucked behind the waist; different contours of the sleeves, collar, and cuffs of the costume; and an elaboration in the area of the codpiece, into which an article of clothing—almost certainly gloves—was originally tucked. More traditional underdrawing in black chalk or charcoal and carbon-based ink or paint applied with a brush is found throughout the head and the hands. The frame is from Tuscany and dates to about 1560—80 see figs. This is a young man emerging into the adult world.
Portrait of a Young Man
Charlotte Hale 2010 Lucien Bonaparte, Prince of Canino, Rome by 1808—16; his sale, Stanley, London, May 14—16, 1816, no. Mannerist artists loved creating compositional tension and instability. New York, 1999, pp. Ulderigo Medici, Catalogo della galleria dei Principi Corsini in Firenze, Florence, 1886, p. Pitture italiane del rinascimento. Havemeyer, 1929 Accession Number: 29. In other words, the book is truly a financial ledger.
