Luciano Berti, ‘L’ Alabardiere del Pontormo, Critica d’Arte, LVI, 1990, p. 46, as workshop of Bronzino. Cropper, on the other hand, proposed an alternative identification of the sitter as the Florentine nobleman Carlo Neroni whose likeness by Pontormo is recorded by Vasari (Cropper, 1996, Fig. Gemäldegalerie, Staatliche museen zu Berlin, Fig. 1536-37 (fig. Florence, Galleria Degli Uffizi. Luciano Berti, Pontormo, Florence 1964, p. 101. MS., Archivio di Stato, Florence, Carte Riccardi, fil. La fiamma, 'Acquistato un rittrato di Cosimo I de' Medici', Sydney, 15 Feb 1996, p 33. 4) concurs both with the attribution and the identification of the sitter as Cosimo I. cit., p. 243). Un quadro in cornice dorata rappresenta un ritratto di un giovane mezza figura in abito nero alla spagnola con spada e pennacchio bianco sul cappello, tenando in mano un libro mezzo servato stima scudi sessanta (MS., Archivio di Stato, Florence, Carte Riccardi, fil. He dates it to ca. This portrait depicts Cosimo I de' Medici close to the end of his life, aged in his mid-fifties. 코시모 1세 데 메디치(Cosimo I de' Medici, 1519 ~ 1574)는 1537년부터 초대 토스카나 대공이 된 1569년까지의 2대 피렌체 공작이다. This website use cookies to give you the best service possible. 6 Agnolo Bronzino, Portrait of Ugolino Martelli, 1536/40, oil on panel, 102 x 85 cm. 1537-39, oil on panel, 93.7 x 76.4 cm. Fig. Ridolfo Ghirlandaio’s Cosimo I de’ Medici, aged 12 of 1531 (fig. Kurt W. Forster, ‘Probleme um Pontormos Porträtmalerei (I)’, Pantheon, XXII, 1964, p. 380, as by workshop of Bronzino, datable to ca. 79. Costamagna has suggested that this portrait – the only one in which the young Cosimo is shown wearing civilian clothing – is in all probability that one sent to Naples for presentation to his fiancée, Eleonora of Toledo, in advance of their nuptials. Portrait of Cosimo I de' Medici 1537 Oil on canvas, 118 x 88 cm The Hermitage, St. Petersburg: This portrait is full of allegorical attributes that refer to Cosimo I de' Medici and convey a message of positive destiny, power, and fame. cat. of Cosimo I de' Medici' (Columbia University, 1982). Bronzino's portrait captures Duke Cosimo I following a great diplomatic triumph. It is painted with thin, transparent glazes similar to the surface of the near-contemporary Portrait of Alessandro de’ Medici (fig. 5), but recently published by Cropper as possibly representing the Florentine nobleman Francesco Guardi and datable to ca. It was offered at Christie’s, London in 1915 and again in 1930 as by Bronzino, an attribution also put forth by Berti in 1964, though Forster assigned it to Bronzino’s studio in that same year. Charles V stationed the garrisons in Florence ostensibly to protect its first duke, Alessandro de Medici, from those who might rise up against him or otherwise do him harm. of ca. He was court artist from 1539, and his many state portraits of Cosimo and his family are propagandistic images of power and authority. Recent cleaning has retrieved the authority of this important portrait which was for years defaced with extensive overpaint. Relief, porphyry, portrait of Cosimo I de' Medici, by Francesco di Giovanni Ferrucci (Francesco del Tadda), Florence, 1570. The great Florentine artist Jacopo Pontormo painted this imposing portrait of the eighteen-year-old Cosimo I de’ Medici who had recently been elected Duke of Florence in January 1537. 278, c. 15; see Costamagna, 1994, op. Florence Galleria degli Uffizi. cit., p. 104). Cosimo I de’ Medici, Grand Duke of Tuscany (1519 -1574) was the nephew of Ottaviano de’ Medici.. His mother, Maria Salviati, was a granddaughter of Lorenzo the Magnificent; his father, the professional soldier Giovanni delle Bande Nere (1498–1526), was killed when Cosimo was seven. The medal bears a female figure supported by two spheres - an embodiment of Cosmography and, for contemporaries, an obvious reference to Cosimo. Philadelphia Museum of Art, Philadelphia Cat. Bruce Edelstein and Davide Gasparotto, Miraculous Encounters: Pontormo from Drawing to Painting, Galleria degli Uffizi, Florence, 2018, exh. 28 in the Uffizi); mention fringed curtain and ornamental border probably taken from the "Portrait of a Man" by Salviati (MMA 55.14). VII, pp.597-98. cit., p. 242). In this portrait, Cosimo is represented in his younger years, commanding and proud; and to quote Giorgio Vasari, "clad with white armor and a hand over the helmet". In 1539 the artist entered the service of Duke Cosimo I de’Medici. Portrait of Cosimo III de Medici , Grand Duke of Tuscany, oil on canvas by Justus Sustermans Florence, Palazzo Pitti. The Bardi bank ultimately failed, but the Bardi were still influential and powerful, and the marriage was intended to cement an alliance between two of Italy’s most powerful families. It is housed in the Uffizi Gallery of Florence, Italy. Bernard Berenson, I Pittori italiani del rinascimento, Milan 1948, p. 272, no. 14f, 58, no. / Limoges ewer with Baccanal scene, School of Fontainebleau / Perseus and Phineas, Circle of Dirk Vellert / The Prodigal Son cavorting with harlots, Rhineland artist / The Assumption of the Virgin. Prior to Medici rule, Florence had been a republic. Anna Forlani Tempesti and Alessandra Giovannetti, Pontormo, Florence, 1994, p. 142, no. 100% satisfaction guaranteed. Pintor italiano predominantemente áulico y uno de los más destacados representantes del manierismo An early gift of Edward Libbey to the Toledo Museum of Art, Agnolo Bronzino’s Portrait of Cosimo I de’Medici is an iconic image of Renaissance power. The painting shows Cosimo I de' Medici dressed as an ancient Roman, with the helmet, armour, sword and the staff of office.At his feet the lion Marzocco, symbol of Florence, and the she-wolf with Romolus and Remus, in this case the symbol of Siena, just conquered by the Duke.On the shields the two emblems of the Duke appear: the turtle with the sail and the capricorn. 1), which shows a similar angular architectural background, format, and figural proportions. The Portrait of Cosimo I de' Medici is a painting by the Italian artist Agnolo di Cosimo, known as Bronzino, finished in 1545. Although the history of the picture before its mention in the Riccardi inventory of 1612 has yet to be established, Costamagna has hypothesized that, like the Getty Halberdier and Pontormo’s Portrait of Maria Salviati and Giulia de’ Medici (fig. 95, reproduced. 48, repeats earlier attributions. Bastian Eclercy, Maniera: Pontormo, Bronzino and Medici Florence, Städel Museum, Frankfurt, 2016, exh. Robert B. Simon, Bronzino’s Portraits of Cosimo I de’ Medici, Ph.D., Columbia University, 1982, pp. Galleria degli Uffizi, Florence, Fig. MS., Archivio di Stato, Florence, Carte Riccardi, fil. ❖, Riccardo Romolo Riccardi (1558-1612), before 1612, Florence, and thence by descent until at least 1814, Charles T.D. cit., p. 96), the Philadelphia picture suggests that the beard was not yet fully grown, as does a sketch of the Duke, executed in 1543 by Baccio Bandinelli, which shows a rather uneven beard (whereabouts unknown; see Costamagna, 1994, op. Among works executed for his patron was a series of portraits of members of the Duke’s family. 1545 (or after), oil on wood panel. Illustrated in reference to lot no 22. 258, n. 1. Cosimo I de' Medici (1519-1574), Grand Duke of Tuscany. Portrait of Cosimo I de' Medici in armour by Agnolo Bronzino (National Museum in Poznań)‎ (1 C, 2 F) Media in category "Portrait paintings of Cosimo I de' Medici in half length in armour by Agnolo Bronzino" The following 13 files are in this category, out of 13 total. It is a portrait of Cosimo I de' Medici, and we believe it to be by Benvenuto Cellini (Fig. This is a portrait of Cosimo I de‘ Medici, Grand Duke of Tuscany, at the age of 40. Indeed, the book and the sword, which the sitter also bears, allude to the Neoplatonic notion of wisdom and power, virtues exalted as those of the ideal prince by Castiglione in his enormously influential Il Cortegiano (The Book of the Courtier), published in Venice in 1528 (Costamagna, 1994, op. It has been identified as having been painted in the Medicis' Villa of Poggio a Caiano in 1545. Life Rise to power. cat., p. 130. Cosimo had, at long last, rid Florence of the Spanish garrisons that had been stationed there since the early 1530s, when Pope Clement VII (Giulio de' Medici) and Holy Roman Emperor Charles V agreed that Florence would become an Imperial duchy, governed by the Medici. Media in category "Cosimo I de' Medici (Agnolo Bronzino - Hermitage Museum)" The following 3 files are in this category, out of 3 total. 278, c. 15. This impressive portrait originated in the Florentine studio of Agnolo Bronzino. 2) shows much younger Cosimo, but with a similar round face, wide eyes and small mouth. Agnolo Bronzino / Portrait of a Young Man with a Book, Perino del Vaga / A Griffin holding a coat-of-arm, Master of 1499 / Two wings from a triptych, Giovanni Maria Butteri / Dante, Petrarch, Boccaccio and other Tuscan Men of Letters, Hans Burgkmair the Elder / Lovers Surprised by Death, Jacopo Pontormo / Striding Nude with Arms Raised, Giulio Bonasone / St. Paul Overcoming the Viper, Pierre Reymond / A pair of Limoges enamel plates, Giorgio Vasari / Adoration of the Shepherds, Master I.C. A rediscovered Marble Portrait of Cosimo I de' Medici by Cellini THE M. H. de Young Memorial Museum in San Francisco acquired a few years ago a marble bust of unusual interest and artistic significance. Well-established within the Medici court by the end of the 16th century, Riccardi was an avid collector of books, antiquities and Italian pictures, among them works by Raphael, Titian, Andrea del Sarto, Pontormo, Bronzino and Rosso Fiorentino. 135. A work of the artist’s mature phase, the portrait typifies Pontormo’s approach to the genre, in which the elegantly elongated and haughtily posed sitter is intensely alive as a psychological presence yet at the same time “hauntingly inaccessible” (Cox-Rearick, op. pp. The present picture shares commonalities with other of Pontormo’s portraits of the 1530s, such as the Portrait of Alessandro de’ Medici of ca. For the dating of the Chapel of Portrait of Dianora di Toledo (1553-1576) Francesco Brina (1540-1586) Born as Leonora Álvarez de Toledo, Dianora came to Florence when her aunt Eleonora di Toledo (Leonor de Toledo) married Cosimo I de’ Medici to secure an alliance between Florence and … 1 Jacopo da Pontormo, Portrait of Alessandro de’ Medici, 1535, oil on panel, 101.3 x 81.9 cm. cit., p. 242; see also Cropper, 1997, op. The portrait was listed again in the Riccardi inventory of 1814, in which more details about the sitter’s attributes and attire, such as his “dark costume in the Spanish style” and the fact of his holding a book, are included. 1539, The Walters Art Museum, Baltimore 37.596, Installation view of Grey Matters at Nicholas Hall, 2021. Elizabeth Cropper, Pontormo. It is housed in the Uffizi Gallery of Florence, Italy. Comments on the exhibition’, The Baltimore Museum of Art News, XXIV, no. Studio of Agnolo di Cosimo di Mariano, called Il Bronzino, Portrait of Grand Duke Cosimo I in armour. Philippe Costamagna, Pontormo, Milan 1994, pp. Physical Description: Relief in porphyry set on an oval slab of serpentine (verde di Prato). I). The Australian financial review, '$2.8m for Old Master', Sydney, 08 Feb 1996, p 47. The Metropolitan Museum of Art, New York 29.100.16, Fig. 1) in Philadelphia. 1540-41. While Simon judged it “close” to Pontormo on the basis of a photograph in 1982, Fabre and Costamagna included it as Pontormo in full in their 1986 catalogue of 16th-century Florentine portraits. Toledo Museum of Art, Toledo, Ohio. Find art you love and shop high-quality art prints, photographs, framed artworks and posters at Art.com. The Portrait of Eleanor of Toledo and Her Son is a painting by the Italian artist Agnolo di Cosimo, known as Bronzino, finished ca. 52. This article about a sixteenth-century painting is a stub. Scholars have remarked on the striking similarities in format and pose which the picture bears to Pontormo’s Portrait of a Halberdier in the J. Paul Getty Museum in Malibu, traditionally called a portrait of Cosimo de’ Medici (fig. Bronzino - Portrait of Francesco, son of Cosimo I de Medici (~1551) January 2021. This Italy-related article is a stub. Label: Duke Cosimo I de' Medici is shown as the mythological musician and poet Orpheus after having calmed Cerberus, the doglike guardian to Hades from which Orpheus wished to retrieve his wife, Eurydice. It was exhibited in Baltimore in 1961 as Pontormo and published as such by Berenson two years later. In his position as court painter for the Medici, Bronzino was author of several portraits of Grand Duke Cosimo I de' Medici. Gertrude Rosenthal, ‘Bacchiacca and his friends. Portrait, entitled Cosimo I de Medici in Armour, by Agnolo Bronzino (1503-1572), oil on panel, 1540s. You can help Wikipedia by expanding it. Left to right: Apollo and Cupid; Portrait of Cosimo I de’ Medici; Apollo and Daphne; all works by Jacopo da Pontormo. The Portrait Medal of Cosimo de’ Medici celebrates Cosimo I de’Medici (1389-1464) and is the earliest example of a product created by the Florentine school.. Cosimo I was the head of the de’Medici family, a family of bankers who were the de facto rulers of Florence during most of the Italian Renaissance. 4 Jacopo da Pontormo, Portrait of Cosimo I de’ Medici exhibited in the Maniera exhibition, Städel Museum, Frankfurt a.M, 2016, Fig. Philadelphia Museum of Art, Philadelphia 1950-86-1, Fig. The bust is shown turned three-quarters to the left with the head in profile. 100-05, no. Bronzino painted about 25 only slightly differing versions of the portrait. cit., p. 151). After a period in the collection of Ottaviano de' Medici, it entered the … 2 Ridolfo Ghirlandaio, Cosimo I de Medici aged 12, ca. The Portrait of Cosimo I de’ Medici also relates to certain of Bronzino’s portraits, in particular, the Portrait of Ugolino Martelli of ca. Space does not permit my thanking the many people who kindly assisted me in the course of my research, but I would here like to acknowledge the many helpful suggestions of R. J. Berman, David Rosand, and Gustav Jospe. 384-88, no. 142. Find more prominent pieces of portrait at Wikiart.org – best visual art database. New York, 1971, p. 203, ill., call it probably derived from a Bronzino portrait of Cosimo I de' Medici painted in 1545 (now possibly no. Florentine School, London, 1963, I, p. 181. It is housed in the Uffizi Gallery of Florence, Italy. In his 1994 catalogue raisonné of Pontormo’s paintings, Costamagna reconfirmed its autograph status, referring to it as a “splendid portrait…in which the spirit is incontestably that of Pontormo’s works…Above all, the modeling of the face and hands, and no less the expression of his gaze” recall the style of the artist (ibid.). 8 Jacopo da Pontormo, Portrait of Maria Salviati de’ Medici and Giulia de’ Medici, ca. It is based on Bronzino’s official portrait of the Duke of 1559, but is unlikely to have been painted by Bronzino or his assistants. 1545. Comparison with other portraits of Cosimo argue strongly in favor of identifying the present sitter as the newly-elected Duke. 2, 1961, pp. The painting is comparable to other portraits of Cosimo by Brina - a half-length in the Museo Stibbert, Florence, 1 and a very similar bust-length, sold Pananti, Florence, 16 April 2016, lot 245. 258, n. 1; quoted Keutner, op. 242). One of his first projects for the Duke was, however, the decoration of a chapel for the Duchess, Eleonora of Toledo, daughter of Pedro de Toledo, Viceroy of Naples. 1534-35 (fig. Their influence had declined by the late 14th century, however, when Salvestro de’ Medici (then serving as gonfaliere, or standard bearer, of Florence) was forced into exile.Another branch of the … cit., p. 38). Cosimo I de’ Medici. Prior to the Medici family's domination of the banking world, the Bardi clan had run one of the richest banks in Europe. 1529-30. Although the picture was attributed to Pontormo in the Riccardi inventory of 1612, its authorship was the subject of some debate earlier in the last century. 09-abr-2017 - Agnolo Bronzino. The Portrait of Cosimo I de' Medici is a painting by the Italian artist Agnolo di Cosimo, known as Bronzino, finished in 1545. More recently, Cox-Rearick, Cropper and Fahy have all decisively endorsed Pontormo’s authorship. Agnolo Bronzino, ritratto di ragazzo.jpg 674 × … Bronzino’s allegorical portrait of Cosimo I de’ Medici as Orpheus of ca. Bernard Berenson, Italian Pictures of the Renaissance. Although Cropper dates the present picture to the end of the third decade of the 16th century, both circumstantial and stylistic evidence support a dating toward the late 1530s, which the majority of scholars, including Forster, Simon, Costamagna, Cox-Rearick and Geronimus, have endorsed. Philippe Costamagna and Anne Fabre, Les portraits florentins du début du XVI siècle à l’avènement de Cosimo I: catalogue raisonné d’Albertinelli à Pontormo, II, Paris 1986, pp. cit., p. 183). The Medici story began around the 12th century, when family members from the Tuscan village of Cafaggiolo emigrated to Florence. Article by Haydee Kratz Solana. Gift of Edward Drummond Libbey, 1913.232 . His head set high in the picture field, the handsome young Duke stands holding a book – the attribute of the literary man in Florentine portraiture – thus embodying, as Simon has noted, the ideal prince (Simon, op. Also Cropper, 1997, op thin, transparent glazes similar to the Medici, Bronzino s! Bronzino painted about 25 only slightly differing versions of the Uffizi Gallery of Florence, Riccardi... 102 x 85 cm emigrated to Florence and Giulia de ’ Medici,,. Set on an oval slab of serpentine ( verde di Prato ), Milan 1948, 129... 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