Bronzino: 12 works

A slideshow of artworks auto-selected from multiple collections

By Google Arts & Culture

Reclining Youth (about 1525) by Pontormo (Jacopo Carucci)The J. Paul Getty Museum

'In the finished work, Bronzino made only small changes to Pontormo's composition.'

Saint Sebastian (Around 1533) by BronzinoMuseo Nacional Thyssen-Bornemisza

'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.'

The Panciatichi Holy Family (Around 1540) by Bronzino ToriUffizi Gallery

'According to Giorgio Vasari (1568) and Raffaello Borghini (1584), the painting was commissioned to Bronzino by Bartolomeo Panciatichi, whose coat of arms dominates the fort in the background.'

Virgin of the Annunciation (1540/1545) by Agnolo BronzinoPalazzo Vecchio Museum

'The two paintings, characterized by the delicacy typical of Bronzino's art, were made by the artist to substitute the former ones, that is Saint John the Baptist and Saint Cosma.'

Saint John the Baptist (Main View)The J. Paul Getty Museum

'Although unnaturally posed, Agnolo Bronzino's serpentine figure of Saint John achieves a graceful fluidity typical of the style called Mannerism.'

Study of Jealousy (about 1545) by Agnolo BronzinoThe J. Paul Getty Museum

'Bronzino made this drawing as a study of the figure who personifies Jealousy in his painting of Allegory of Venus and Cupid.'

Portrait of Eleonora di Toledo with her son Giovanni (1544 - 1545) by Bronzino ToriUffizi Gallery

'It was painted in 1545 by Bronzino, who was a student of Pontormo and the court portrait artist of the Medici.'

Holy Family with St. Anne and the Infant St. John (1545/1546) by Agnolo di Cosimo, called BronzinoKunsthistorisches Museum Wien

'Bronzino's works are considered the epitome of Florentine disegno and, at the same time, its final pinnacle, which had already assumed the character of Mannerism. Bronzino, who was a pupil of Jacopo Pontormo and thus extremely familiar with the works of Michelangelo, served for many years as court painter to the Medici.'

Cosimo I de' Medici in armour (circa 1545) by Agnolo BronzinoArt Gallery of New South Wales

'As a pupil and adopted son of perhaps the greatest and strangest of mannerist painters, Jacopo Pontormo, Bronzino graduated to artistic maturity with impeccable credentials in that consciously artificial style.'

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'One of those artists, Agnolo Bronzino, made this drawing as a study of the right hand of one of those sculptures.'

Venus, Cupid and Jealousy (ca. 1548–1550) by Agnolo di Cosimo BronzinoMuseum of Fine Arts, Budapest

'The human eye cannot see like this,' stated Wölfflin, the authoritative art historian, of Bronzino's art. And perhaps a healthy human mind cannot think so crookedly as Bronzino's did, for this bizarre picture is able to jolt even today's jaded viewer.'

Portrait of a Young Man (1550/1555) by Agnolo di Cosimo di Mariano, called BronzinoThe Nelson-Atkins Museum of Art

'Bronzino's treatment of the young man's fingers reflects the Mannerist taste for exaggerated elegance and elongated proportions, while the enameled finish of the flesh tones is typical of Mannerist polished virtuosity.'

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