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Agnolo Bronzino Most Famous Paintings
Dawit Abeza
Agnolo Bronzino Most Famous Paintings

Agnolo Bronzino Most Famous Paintings

Who is Agnolo Bronzino?

Agnolo di Cosimo generally known as Bronzino was an Italian Mannerist painter from Florence. He lived his entire life in Florence, and from his late 30s was employed as the court painter of Cosimo I de' Medici, for Grand Duke of Tuscany. He was, for the most part, a portraitist and painted numerous noble subjects and a couple of figurative legends.

He studied with Pontormo, the main Florentine painter of Mannerism art, and his style was incredibly impacted by him. Bronzino's most popular works include the previously mentioned collection of the duke and duchess, Cosimo and Eleonora, and figures of their court.

So without further ado, here are 10 of Agnolo Bronzino's most famous paintings:

  1. Portrait of Eleanor of Toledo by Bronzino
  2. Portrait of Cosimo I de' Medici by Bronzino
  3. Portrait of Bia de' Medici by Bronzino
  4. Portrait of Lucrezia Panciatichi by Bronzino
  5. A Young Woman and Her Little Boy by Bronzino
  6. Don Garcia de' Medici by Bronzino
  7. The Panciatichi Holy Family by Bronzino
  8. Portrait of a Young Man with a Book by Bronzino
  9. Deposition of Christ by Bronzino
  10. Holy Family with St. Anne and the infant St. John the Baptist by Bronzino

Agnolo Bronzino Artworks

Portrait of Eleanor of Toledo by Bronzino 

Portrait of Eleanor of Toledo by Bronzino

The Portrait of Eleanor of Toledo and Her Son is one of his most famous works, it is housed in the Uffizi Gallery of Florence, Italy and is viewed as one of the instances of his utilization of mannerist portraiture style.

The painting delineates Eleanor of Toledo, the wife of Cosimo I de' Medici, Grand Duke of Tuscany, sitting with her hand laying on the shoulder of one of her sons. This motion, just as the pomegranate theme on her dress, alluded to her responsibilities as a mother. Eleanor wears an intensely brocaded dress with dark arabesques.

In this posture, she is portrayed as the perfect woman of the Renaissance. By including the kid, Cosimo wished to infer that his son would carry on his legacy. The portrait ought to be dated around 1550–53, however, the date is currently assumed to be 1545.

Eleanor is delineated wearing a proper outfit over a shirt. Bronzino's painting catches the dimensionality of the brocaded silk velvet texture in the outfit with its circles of gold-wrapped string and dark heap arabesques against a white glossy silk ground. The Dress was made of rich materials and held for noble events and was not run of the mill dresses.

The valuable brilliant belt, enriched with gems and globules with a tuft, may have been made by the goldsmith Benvenuto Cellini.

The painting is maybe advertising for the Florentine silk industry, which had fallen in notoriety in the principal troublesome long periods of the sixteenth century and was resuscitated in the rule of Cosimo I.

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Portrait of Cosimo I de' Medici by Bronzino

Portrait of Cosimo I de' Medici by Bronzino

The Portrait of Cosimo I de' Medici is housed at the Uffizi Gallery of Florence, Italy. As a court painter for Medici, Bronzino was a painter of numerous portraits of Grand Duke Cosimo I de' Medici.

In this portrait, Cosimo is in his youthful years, he seems pleased. It has been distinguished as having been painted in the Medici's villa in 1545. Bronzino's portrait catches Duke Cosimo following an extraordinary conciliatory triumph.

Cosimo had, finally, freed Florence from the Spanish garrisons that had been positioned there since the mid-1530s, when Pope Clement VII and Holy Roman Emperor Charles V concurred Florence. Bronzino painted around 25 varying adaptations of this portrait.

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Portrait of Bia de' Medici by Bronzino

Portrait of Bia de' Medici by Bronzino

This painting was distinguished as a portrait of the "first daughter of the Duke". Cosimo had a child before his marriage in 1539, the child was the little Bianca, or better known as Bia.

In 1560, Francesco Maria II Della Rovere, diplomat of Tuscany, wrote in a letter to Cosimo: “in his first years as duke, had, by a noblewoman of Florence, a girl who was baptized in the name of His Illustrious Excellence, and called Bia. And the Lady Duchess, finding her in her home, was raising the girl lovingly, as she was born to her husband before she became his wife.”

The young girl was hence raised, by a close family member, surrounded by friends of Eleanor of Toledo and her grandma, Maria Salviati, with whom she spent a lot of time with and who was particularly fascinated with her.

Shockingly, at the age of five, Bia out of nowhere became sick towards the finishing touches of the painting. In January 1542 she passed away. The duke was troubled and had a memorial service veil cast of his child, as recorded in the Guardaroba stock of 1553, which additionally contains the principal record of the portrait of Bia by Bronzino, accounted by Giorgio Vasari in his description of the artist.

A few researchers have propelled the hypothesis that Bronzino didn't paint the child while she was alive and it was painted after her passing. The date of the work is hence somewhere in the range of 1542 and 1545.

Around the same time, Bronzino finished the Portrait of Eleanor of Toledo with her son, which utilizes a similar theme. Setting the figure before a dark blue foundation that gets lighter around the face.

The young girl's garments have sold white colors to insinuate her virtue.

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Portrait of Lucrezia Panciatichi by Bronzino

Portrait of Lucrezia Panciatichi by Bronzino

The Portrait of Lucrezia Panciatichi was done around 1545. It is housed in the Uffizi Gallery in Florence, Italy. Lucrezia di Sigismondo Pucci was the wife of Bartolomeo Panciatichi, a Florentine humanist and lawmaker.

Giorgio Vasari portrays the two portraits as: "so natural that they seem truly living". The demonstration of refined clothes and gems was planned to underline the élite position of the woman and allude to parts of her personality through an individual symbology, including the words "Love dure sans blade" on the brilliant accessory, a reference to an affection treatise composed for the Grand Duke of Florence, Cosimo I de' Medici, in 1547.

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A Young Woman and Her Little Boy by Bronzino

A Young Woman and Her Little Boy by Bronzino

A noblewoman without a doubt, and most likely an individual from the court of Cosimo I de' Medici, Duke of Florence in the mid-sixteenth century. 

Her lavish and exorbitant clothing builds her up as royalty. She holds herself with the controlled mien that is recognized in the portraits of Cosimo's court. Bronzino was the main portraitist to the court of course.

The cleaned style of painting may, itself, have inspired his preference for elegant portraits.

The little blond boy was an untimely idea, included by Bronzino in the second crusade of the painting. An X-radiography has uncovered that the woman was first painted with her right hand against her dress and Bronzino inserted the ivory-cleaned child later on.

Furthermore, he worked on the woman's attire making her hat bigger added puffed sleeves, and widening her dress (a change apparent in the darker outline of the forms that were covered up the green foundation).

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Don Garcia de' Medici by Bronzino

Don Garcia de' Medici by Bronzino

This portrait of García de'Medici, third son of Cosimo de'Medici and Leonor de Toledo, is a brilliant illustration of the enthusiasm for the portrayal of children that preceded the Enlightenment time frame. 

Bronzino offers a loyal rendering of the child, including indistinct highlights. Nevertheless, presents him with an equivalent detached posture utilized for grown-up portraits of the Florentine court.

García is seen as a beneficiary to the dukedom of Tuscany and therefore, the artist discards any articulation or signal that you may see in a child.

García, whose status is reflected in his extravagant red silk and gold coat. Lavishly decorated at the neck and wrists with pearl-sewn weaving, doesn't play with the exorbitant jewelry that he holds, but instead shows it as though mindful of its worth.

This gem, which has on events been mistakenly recognized as an aesthetic part of the painting, was a special necklace planned to avert the hostile stare. Ornaments with shrews/mermaids were utilized by Neapolitan ladies during pregnancy, and it might hence have been given to García by his mom, Leonor, or by his granddad, Pedro de Toledo, Viceroy of Naples.

The painting can be dated to around 1549–1550 given that García was conceived in 1547.

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The Panciatichi Holy Family by Bronzino

The Panciatichi Holy Family by Bronzino 

As indicated by Giorgio Vasari and Raffaello Borghini, the painting was authorized to Bronzino by Bartolomeo Panciatichi. Bronzino utilized the sculptural style of Michelangelo's painting, the gathering of the Holy Family with John the Baptist on their arrival from Egypt. The painting has been in the Uffizi Gallery since 1919.

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Portrait of a Young Man with a Book by Bronzino

Portrait of a Young Man with a Book by Bronzino

The essence of this self-importance is openly displayed on the young man’s face, yet he is more likely a scholarly companion of Bronzino and presumably holds a book of poetry. Bronzino was himself a poet and used his poetry in his paintings and added clever and whimsical subtleties.

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Deposition of Christ by Bronzino

Deposition of Christ by Bronzino

The Deposition of Christ is housed in the Musée des Beaux-Arts de Besançon, France. A duplicate by Bronzino can be found in the Palazzo Vecchio.

The painting was initially dispatched to be the altarpiece for the chapel of Eleonora of Toledo in the Palazzo Vecchio, Florence. Soon after it was finished in 1545, Eleonora's significant other, Grand Duke Cosimo I de' Medici, dispatched the image to Nicolas Perrenot de Granvelle, a central advisor of the Holy Roman Emperor Charles V, as a political blessing. 

Granvelle introduced it in his private chapel in Besançon. After a year, he passed on. Consequently, there is no record of the work from the seventeenth century until the French Revolution. To protect it after Granvelle's chapel was partially pulverized, the image was housed in the Besançon city lobby from 1793 until it turned into a part of the collection of the Musée des Beaux-Arts when the gallery opened in 1834.

At the forefront of the painting is a Pietà, depicting the body of Jesus being supported by his mom Mary. The Apostle John supports his back and is illustrated holding up the young body of Christ.

Mary Magdalene bows on the privilege and supports the feet of Jesus. Four heavenly ladies grieve on the left. Nicodemus is portrayed on the left and at the right side Joseph of Arimathea holds the nails of the Crucifixion. The man between them is an anonymous friend.

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Holy Family with St. Anne and the infant St. John the Baptist by Bronzino

Holy Family with St. Anne and the infant St. John the Baptist by Bronzino

In his composition, Bronzino arranges the subjects in closeness to each other. The figures are organized behind one another which makes it simple to perceive them.

St. John is in the foremost position, his look highlights the newborn child Jesus, who is delineated frontally. Behind them stands St. Mary, who is holding her son's arm in a caring signal. The composition has St. Anne and St. Joseph standing apart from the focal gathering of the three subjects.

Bronzino has emphatically emphasized the story and subject figures almost to the point of clarity. The soft and delicate painting is different from his formal paintings.

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