The Life of Agnolo Bronzino

The Birth of Agnolo Bronzino

Nov 17, 1503

Angolo Bronzino, was born Agnolo di Cosimo. It is unclear why he was referred to as Bronzino, although a few rumors say it was because of his dark-colored skin. He was born in the 16th century in Monticelli, Italy. Monticelli was a suburb of Florence.

Jacopo Da Pontormo

1515

Bronzino becomes a pupil of Pantormo, an artist that Bronzino adopted his style from for years. (balanced compositions, roundness of form, and luminosity.) The two shared a professional and personal relationship for 40 years. The photo here is Pontormo's portrait of Alessandro de' Medici, Duke of Florence, this portrait is often used to compare Pontormo and Bronzino's portrait style. (I will explain this more on the next event)

Jacopo Da Pontormo & Bronzino

1515

This portrait by Bronzino, of Cosimo I de' Medici as Orpheus & Pontormo's portrait of Alessandro de' Medici are used to compare similarities found in the artist's styles. They are similar because both are portraits of important rulers of Florence. Both artists portray the subject in a strong pose that emphasizes intellect & involvement in the arts. Pontormo portrays the duke making a drawing & Bronzino portrays Cosimo as Orpheus, a poet & musician of greek mythology. Vignette is also utilized.

Joseph and Jacob in Egypt

1518

This is one of Jacopo da Pontormo's most well known oil paintings. Bronzino was included in the painting as the boy seated on the steps in the foreground. (looking up at the boy with red tights.)

Moved Outside of Florence

1522

Pontormo helped launch Bronzino's career by including him in completing important commissions. (a series of frescoes of the Passion of Christ in the Certosa Di Galluza) Pontormo and Bronzino moved to the Galluza to escape a plague outbreak in Florence at the time.

The Holy Family with St. Elizabeth & St. John the Baptist

1528

This portrait is important because it is one of the first known paintings where Bronzino worked independently on the painting.

Portrait of a Young Man

1530

Oil on wood. The man in the painting is not identified but because Bronzino was also quite the poet, it is believed that he is one of Bronzino's literary friends. The exact date of this painting is not clear because it is said it was completed at some time throughout the 1530s, but in some books it also said 1540...

Meeting the Duke of Florence

1539

Bronzino contributed to wedding decorations for Cosimo I de' Medici, the Duke of Florence and his wife, Eleonora di Toledo. This is very important because this basically launched Bronzino's career as a court artist, he would work for the duke and his wife for the next six years or so.

Cosimo I de' Medici as Orpheus

1539

This was the first portrait that Bronzino would paint for Cosimo, the Duke of Florence. This painting helped initiate Bronzino's professional relationship with Cosimo.

The Chapel of Eleonora di Toledo (start)

1540

Bronzino's paintings would decorate the walls and ceilings of the chapel to honor the Cosimo's wife Eleonora di Toledo. The Chapel would be private to the Duke and his wife, as it was meant to be sort of a "gift" to her.

Ceiling of the Chapel of Eleonora of Toledo

1540

Bronzino starts the Chapel for Cosimo's wife. He would work on the chapel by himself for a few years. Bronzino painted the ceiling to create an illusion of it looking like a vault occupied with Saints. Although Bronzino designed the ceiling, it was relative to the architectural fashion at the time.

Crossing of the Red Sea

1542

Another important fresco is added to the Chapel of Eleonora. This is a detail image from the fresco.

Moses Striking Water from the Rocks

1542

This is a detail from a fresco that framed the entrance of Eleonora's Chapel. It is alongside "The Gathering of Manna" painting which would be completed later.

The Gathering of Manna

1543

This is the fresco on the right of the entrance wall next to "Moses Striking Water". I love the three of these images because they would be the first frescoes anyone would see when they first enter the chapel because the encase the entryway.

Portrait of Eleanor of Toledo and Son

1544

Oil painting of the Cosimo I de' Medici's wife and son, Giovanni. This portrays Eleonora and her son in the most ideal way possible from their garments to their complexion and expression. This portrayal emphasizes that they were a family of importance. Although Bronzino's attention to texture and detail kind of sets this painting apart from others, it is still considered renaissance. Some critics point out that it is typical of court portraiture rather than being like a madonna & child painting.

The Allegory of Venus and Cupid (Bronzino's most well known work is created.)

1545

This piece is oil on wood and is rich in symbolism. The overall message of this painting had to do with love, pleasure, and all of its consequences. The painting was created at a time where sexually transmitted infections were arising. (Syphilis in particular). Bronzino wanted to convey an image of sex and temptation (Venus and Cupid) along with the consequences, such as syphilis. This piece influenced many artists to come and there has been BOOKS written on this piece alone.

The Chapel of Eleonora di Toledo (completion)

1545

Bronzino completed the decoration of The Chapel of Eleonora di Toledo. Although he completed the chapel in this year, he would later be asked to repaint the altarpiece pictured in 1533 because it was dispatched and given as a gift.

Portrait of Cosimo I de' Medici

1545

Another portrait of Cosimo I de' Medici. Although this is the same Duke from the 1539 painting, we can see how Bronzino's style has evolved. The subject is a bit less symbolic and more realistic.

Deposition of Christ

1545

The deposition of Christ is created. Oil on wood. This piece was a part of The Chapel of Eleonora di Toledo. This is important because it portrays Bronzino's use of a cold palette and also reminds me of a much earlier painting of Bronzino. Called "St. Benedict in the Wilderness" because they both portray feelings of agony.

Death

Nov 23, 1572

Bronzino passes away at age 69, in Florence Italy.

Allegory of Venus and Cupid Acquired by Museum

1860

This piece was put on display in the National Gallery in London, this is very important because it refreshed people's minds on Bronzino's artwork and the influence he had. He took risks with this painting by portraying something very erotic and kind of gross honestly!

20th Century Assessment of Bronzino

1923

Frank Jewett Mather, a leading figure of North American art history in the 20th century said "He was a vicious person, a cold aesthete, with few of the generous virtues that nourish the soul." On Bronzino's character, referring to An Allegory of Venus and Cupid.

Eleonora di Toledo Restoration

1929

Was restored and visible for the first time to the public in the Palazzo Vecchio.