It was a winning game. It's a witty, fantastically virtuosic and self-confident image. A glossary, a genealogy of the Medici family, and a bibliography complete this publication. No warranties are made express or implied about the accuracy, timeliness, merit, or value of the information provided. This is an important volume, if a bit dry in writing technique.
It was paired with its life-study on panel, the Chicago short-bust version cat. This fully illustrated volume also features Elizabeth Cropper's thought-provoking essay Pontormo and Bronzino in Philadelphia: A Double Portrait, which explores the rich cultural and artistic background behind these artists portraiture. An essay by Mark S. A tour driver for Mike Heron lived in Philadelphia and in the middle of moving picked me up at rush hour at the the round about below the museum with his friend in a big Uhaul and we drove all over the city - a tour only a local could give. He lived alone in a room reached by a ladder that he could pull up after him. He stands in three-quarters profile, stripped to his underpants, a quizzical look on his face, and one hand, index finger extended, pointing straight out at the viewer, or, rather, at his reflected self. This deformity is also consistent with what is known about the medical history of Cosimo I and with the skeletal remains of his left hand.
No wonder the salonlike room here of portraits by the two artists feels like an A-list party of exceptional personalities. The work by Pontormo has undergone a delicate restoration and technical study, the results of which are celebrated in this exhibition. Male portraits grouped on the opposite wall trace the development and the close artistic relationship of the two artists. All of this comes through in the 20 drawings that form the expressive soul of the Philadelphia show, organized by Carl Brandon Strehlke, adjunct curator of the museum's John. Pontormo wasn't winsome nuts; he was spooky nuts. The modest space facilitated scrutiny of individual works and ready comparison between panels.
Pontormo, Bronzino, and the Medici The Transformation of the Renaissance Portrait in Florence Carl Brandon Strehlke with essays by Elizabeth Cropper and Mark S. Price - each take a direction of the investigation of this period and the manner in which it affected the paintings and art in general in the Medici empire. Tucker, Irma Passeri, Ken Sutherland, and Beth A. In a separate undertaking, the two-year-long conservation and technical analysis of the Museums splendid portrait by Pontormo of Duke Alessandro de Medici, by our paintings conservation department, has led to another important exhibition, organized by Carl Brandon Strehlke, Adjunct Curator of the John G. Strehlkes long-awaited catalogue of Italian painting from the late medieval and early Renaissance period in the Museum. Not all the drawings exhibited were dedicated portrait studies, and comments here mostly concern those drawings linked to exhibited or existing portraits.
About this Item: Penn State University Press, 2004. Grady Harp I've always had a fascination for renaissance paintings, architecture and the Medici and treked all over Europe to see as much as I could. The pathological evidence supports the conclusion that Pontormo's Halberdier is Cosimo I as a young man and that the painting was done around 1537 when Cosimo first became Duke. Luciano Berti and Janet Cox-Rearick plausibly proposed long ago that this sheet served Pontormo to compose the idealized, posthumous Maria Salviati cat. The two Philadelphia portraits offer fascinating private views of important rulers of Renaissance Florence. Co-published with the Philadelphia Museum of Art This book accompanies an exhibition of the same name held at the Philadelphia Museum of Art upon the completion of conservation of Pontormo's famous portrait of Duke Alessandro de' Medici.
Tucker and colleagues discusses findings from the recent conservation of Pontormo's portrait of Alessandro. This fully illustrated volume also features Elizabeth CropperÃ¢ÂÂs thought-provoking essay Ã¢ÂÂPontormo and Bronzino in Philadelphia: A Double Portrait,Ã¢ÂÂ which explores the rich cultural and artistic background behind these artistsÃ¢ÂÂ portraiture. May show signs of minor shelf wear and contain limited notes and highlighting. Central to the exhibitions focus are two portraits from the Museums collection by the great 16th-century Florentine masters Pontormo and Bronzino, depicting the Dukes Alessandro and Cosimo I de Medici. The technical accounts by Tucker and his assistants admirably clarify Pontormo's working methods and technique.
Price discusses findings from the recent conservation of Pontormo's portrait of Alessandro. In many ways it is a study of the perfect classicism of the Renaissance painters as that technique of perfection fell into the hands of the Mannerists - Mannerism was the art movement that took place immediately after the Renaissance during the 16th century that provided the bridge to the Baroque era of painting. This book takes the former approach and it is indeed a valuable book for art historians and reference book for art history students and those particularly fond of the 1600s Italy. This sequence gives the dress a unique texture that can be understood as a fingerprint of a master's characteristic technique of the period Strehlke 2004. Centering on Pontormo's painting and Agnolo Bronzino's equally renowned depiction of another Medici duke, Cosimo I, the exhibition of som Co-published with the Philadelphia Museum of Art This book accompanies an exhibition of the same name held at the Philadelphia Museum of Art upon the completion of conservation of Pontormo's famous portrait of Duke Alessandro de' Medici. A genealogy of the Medici family, a glossary, and a bibliography complete this publication.
Pontormo, by contrast, was unreliable, mercurial and, one senses even without Vasari's description, emotion-driven and fundamentally private, which is not the same thing as crazy. This is a portrayal from life, however, and it does not resemble either Giuliano, Duke of Nemours 1479—1516 or Giuliano di Piero il Gottoso 1453—78. These three portraits show the hands of Cosimo in approximately the same position as the Halberdier's hand, thus allowing a meaningful comparison. The catalogue is provided with a useful glossary and index. Across the room, a pensive woman, not young, watches over an equally pensive small child. An essay by Mark S. It also suggests his association with letterati.
In addition to extensive bibliography at the end of each essay, there are pages of reference aides including a major glossary and a well composed genealogy of the di Medici family that greatly enhances the value of the book. . While there are well reproduced images of the paintings being discussed, some of which are in the exhibition, and many photographs in black and white of important details of discussion, the overall impression of this book is one of scholarly completeness. The present study is intended to help resolve this controversy by providing evidence, based on pathological criteria, for the identification of Pontormo's Halberdier. This exhibition addresses the public and private nature of portraiture and the elevation of drawing in 16th century Florentine art through a careful selection of paintings and drawings from both American and European collections as well as coins, medals, and prints. Portraits in the sixteenth century embodied talismanic engagement—with love, awe, and even, on occasion, fear bound up with the impact on the spectator of a painted persona.