Pontormo


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Pontormo

Jacopo da . original name Jacopo Carrucci. 1494--1556, Italian mannerist painter
References in periodicals archive ?
Paul Getty Museum) ."Miraculous Encounters: Pontormo from Drawing to Painting" is a beautifully illustrated catalogue that brings together a small but important group of preparatory drawings and finished paintings that center on Pontormo's great masterpiece, The Visitation, one of the most moving and mesmerizing works by the artist.
The notes issued by Pontormo in 2012 under a previous RMBS were repaid in full after the five originators bought back the remaining portfolios.
"Portrait of a Halberdier," this month's cover image, is considered Pontormo's masterpiece.
In the mid-sixteenth century, Jacopo da Pontormo, the lunatic Florentine painter, could claim that while God needed three dimensions to create nature, painters only needed two to re- create it; which, he concluded, "is truly a miraculous, divine artifice." (22) Now we need far less of that artifice, as we can represent and reproduce the world just as it was made-in three dimensions.
Autoritratti letterari nella Firenze di Cosimo I: Bandinelli, Vasari, Cellini e Pontormo. Bologna: Bononia University Press, 2008.
(23.) See Janet Cox-Rearick, Dynasty and Destiny in Medici Art: Pontormo, Leo X, and the Two Cosimos (Princeton: Princeton University Press, 1984), 39.
In La ricotta, Pasolini represents the Passion of Jesus, yet referenced through the attempted reproduction of two mannerist paintings by Rosso Fiorentino and Pontormo. (15) These paintings, representative of the Mannerist tradition do not offer a settling, blissful perspective, more typical of religious art.
El Greco penned in the margins of Vasari's biographies his personal remarks on the critical reception of Michelangelo, Raphael, and Titian's legacy; his reevaluations of Parmigianino and Pontormo; and, most importantly, his revised attitude toward classical antiquity that maintained Correggio as a viable alternative to Raphael's classicism, an alternative that escapes the confines of Roman papal quarters.
Unlike other artists, such as Sebastiano del Piombo and Jacopo Pontormo, to whom Michelangelo provided cartoons for paintings, Bugiardini was not able to benefit from the assistance given by his friend.
In plotting the chronologically parallel lives Jacopo Carucci (Pontormo) and Giovanni Battista di Jacopo (Rosso Fiorentino), both born only a few miles apart in 1494, the exhibition aims to clarify the ideological aims of each artist and to track those aims in their distinct, evolving expressions.
This collection of essays on artists as readers explores such topics as Jacop Pontormo as a scholarly craftsman, Lorenzo Lippi's literary culture, Coninxlo, Pieter Lastman, Sir Joshua Reynolds, artists and knowledge in sixteenthcentury Venice, oratory in Gian Paolo Lomazzo's world, the cultural approach taken with a treatment of artists' portraits, Le Brun as reader and painter, the collaborate partnership in seventeenth-century Italy, Poliziano and Pico della, Francisco de Hollanda, technical knowledge, Bach, and the book collection of Jeronimo Antonio Gil as an evangelist of taste.