(6.) 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. The general style and high quality of the recently cleaned and restored work bears out the rationale of an Allori attribution, while small details related to the representation of the eyes and the dimples of the hands, for example, seem to suggest a collaborative piece between Allori and an assistant.
(18.) For example, see Raphael's portraits of the Doni, dated around 1505, and Agnolo Bronzino's portraits of the Panciatichi, from about 1540 (figs.
's "Portrait of a Lady" presents a dignified sitter with the faintest of smiles playing on her lips.
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 (1503-72).
Agnolo Bronzino), a dialogue on the art of figure drawing: 'And I say briefly to you that by drawing I intend all those aspects that can be formed with the value and force of simple outlines.' (17)
9 verso, incorrectly describing this verso side of the sheet as 'Jacopo Pontormo and Workshop 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).(1) These "scribblings" yielded an impressive corpus.
"Das Londoner Venus-und-Cupido Bild des Agnolo Bronzino." In Das Werk des Kunstlers, 162-68.
. "A Hidden Sphinx by Agnolo Bronzino, 'ex tabula Cebetis Thebani.'" Renaissance Quarterly 46 (1993): 277-307.
"Jealousy, Pain, and Pleasure in Agnolo Bronzino's Allegory of Venus and Cupid." Pantheon 39 (1981): 250-58.
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.