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By 1540, Pontormo’s student Agnolo Bronzino (1503–1572) had become the leading artist working in this style in Florence and court painter to Cosimo I de’ Medici, grand duke of Tuscany. Ducal patronage played an important part in Bronzino’s career, as well in those of his contemporaries working in the Medici court, Francesco Salviati (1510–1563) and Giorgio Vasari (1511–1574).
Bronzino, Venera, Kupid, Ludost i Vrijeme, 1540. – 1545., ulje na platnu, 146 × 116 cm, Nacionalna galerija, London. Njegov nadimak Bronzino („brončani”) se vjerojatno odnosio na njegov tamniji ten ili crvenkastu kosu. [1] Neki tvrde da je Bronzino imao tamniju kožu zbog Addisonove bolesti.
Bronzino. Artist and Poet at the Court of the Medici, on view at the Palazzo Strozzi in Florence from 24 September 2010 to 23 January 2011, will be the very first exhibition devoted to his painted work. Bronzino conveyed the elegance of the Medici court in his work with “naturalness” and, at the same time, austere beauty. Florence is the ...
Bronziono har været tilknyttet Firenze størstedelen af sit liv. Han var elev af Raffaellino del Garbo og arbejdede senere under og påvirkedes stærkt af Jacopo da Pontormo. Efter et kortere ophold i Pesaro, 1530, kom han tilbage til Firenze, hvor han nød Mediciernes gunst, udførte større bestillinger for dem og malede deres portrætter.
Alegoría del triunfo de Venus. Alegoría del triunfo de Venus (en italiano, Allegoria del trionfo di Venere ), también conocida como Alegoría con Venus y Cupido o Alegoría de la Pasión, es una obra pictórica de Bronzino realizada posiblemente entre los años 1540 a 1550, durante la corte del duque Cosme I de Médici.
The present painting has been dated 1533, at a time when Bronzino was defining his own artistic personality following his assimilation of Pontormo’s teachings. The present work has more opaque colours than Pontormo’s, while the solid forms seem to be located in space in an immobile manner, both stylistic features characteristic of Bronzino.
