This final installment in our two-part article dedicated to the drawings of Agnolo Bronzino
(1503-72) comments on the state of their preservation.
Focusing on a selection of portraits painted primarily by Jacopo Pontormo, Agnolo Bronzino
, and Alessandro Allori, she suggests that "women's portraits were ideal vehicles to promote notions of semi-deification or absolutism" (9).
Can painting reliably serve a high and serious purpose, or should we just accept that it is a thing "of no utility other than pleasure," as the painter Agnolo Bronzino
described it in 1547?
This general format and length is most prevalent among the preserved images of Medici women depicted by Agnolo Bronzino, Alessandro Allori and others from the 1560s and 1570s, while after this date the format lengthens slightly to a true three-quarter length representation.
The Portrait of Lucrezia was recently attributed by the North Carolina Museum of Art to Alessandro Allori and his shop, replacing a previous attribution to the workshop of Allori's master, Medici court painter, Agnolo Bronzino.
With this premise, Deborah Parker has produced the first modern study that focuses specifically on the poetry of Agnolo Bronzino
The Metropolitan Museum's recent exhibition on 'The Drawings of Bronzino' (19 January-18 April 2010) was the first monographic treatment of Agnolo Bronzino
In his "Capitolo in Lode Del Dappoco," a facetious tribute to the worthless person, the painter Agnolo Bronzino
(1503-72) muses to his cat Corimbo about how he likes to spend his evenings: "Tu sai Corimbo, che tal volta io leggo/cosi nel letto, per adormentarmi,/o quando, com'or teco al fuoco seggo;/e hai veduto anche scombiccherarmi/qualche foglio e compor qualche cosetta/per passar tempo e '1 cervel ricriarmi (You know Corimbo that I read like this in bed in order to fall asleep, or when as now, I sit with you at the fire; and you have seen me scribbling on some papers and composing some little thing in order to pass the time and refresh my mind) ("Capitolo in lode del dappoco," 37-42).
Das Londoner Venus-und-Cupido Bild des Agnolo Bronzino.
A Hidden Sphinx by Agnolo Bronzino, 'ex tabula Cebetis Thebani.
Even before Davids successful treatment, Italian conservators had quietly conducted another, equally extensive and delicate project: the restoration of 22 of the museum's major 16th-century Florentine altar paintings, among them splendid, idiosyncratic masterpieces by Alessandro Allori and Agnolo Bronzino
, and the little-known Carlo Portelli's greatest work, the bizarrely beautiful Dispute on the Immaculate Conception (Fig.