Agnolo Bronzino

Italian, 1503-1572
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Agnolo Bronzino oil paintings
Agnolo Bronzino : Bia, The Illegitimate Daughter of Cosimo I de' Medici
before 1542, oil on wood, Galleria degli Uffizi, Florence
Agnolo Bronzino : Allegory of Lust (An Allegory with Venus and Cupid)
1545, The National Gallery, London
Agnolo Bronzino : Holy Family with St. Anne and the Infant St. John
1550, canvas, Art History Museum, Vienna
Agnolo Bronzino : Pieta
Galleria degli Uffizi, Florence
Agnolo Bronzino : Portrait of Guidobaldo della Rovere
Galleria Palatina, Florence
Agnolo Bronzino : Noli me Tangere
Casa Buonarroti, Florence
Agnolo Bronzino : Portrait of Ugolino Martelli
Staatliche Museen, Berlin
Agnolo Bronzino : Portrait of a Young Girl with a Prayer Book
Galleria degli Uffizi, Florence
Agnolo Bronzino : Allegory of Happiness
Galleria degli Uffizi, Florence
Agnolo Bronzino : Stroganoff Holy Family
Pushkin Museum, Moscow
Agnolo Bronzino : Noli me Tangere II
Musee du Louvre, Paris
Agnolo Bronzino : Cosimo I de' Medici
oil on wood, Galleria degli Uffizi, Florence
Agnolo Bronzino : The Panciatichi Holy Family
1540, oil on wood, Galleria degli Uffizi, Florence
Agnolo Bronzino : Eleanora di Toledo with her son Giovanni de' Medici
1550, oil on wood, Galleria degli Uffizi, Florence
Agnolo Bronzino : Bartolomeo Panciatichi
oil on wood, Galleria degli Uffizi, Florence
Agnolo Bronzino : Lucrezia Panciatichi
1540, oil on wood, Galleria degli Uffizi, Florence
Agnolo Bronzino : A Lady with a Puppy
Stadelsches Kunstinstitut, Frankfurt
Agnolo Bronzino : The Deposition of Christ
Musee des Beaux-Arts, Besancon
Agnolo Bronzino : Portrait of Eleanora di Toledo
1560, National Gallery of Art at Washington D.C.
Agnolo Bronzino : Adoration of shepherds
49542-Bronzino, Agnolo-Adoration_of_shepherds.jpg
Agnolo Bronzino : Allegorical Portrait Of Dante
49543-Bronzino, Agnolo-Allegorical_Portrait_Of_Dante.jpg
Agnolo Bronzino : Cosimo de medici in armour
49544-Bronzino, Agnolo-Cosimo_de_medici_in_armour.jpg
Agnolo Bronzino : Deposition
49545-Bronzino, Agnolo-Deposition.jpg
Agnolo Bronzino : Deposition II
49546-Bronzino, Agnolo-Deposition.jpg
Agnolo Bronzino : Don garcia de medici
49547-Bronzino, Agnolo-Don_garcia_de_medici.jpg
Agnolo Bronzino : Francesco de medici
49548-Bronzino, Agnolo-Francesco_de_medici.jpg
Agnolo Bronzino : Giovanni de medici
49549-Bronzino, Agnolo-Giovanni_de_medici.jpg
Agnolo Bronzino : John the Baptist
49550-Bronzino, Agnolo-John_the_Baptist.jpg
Agnolo Bronzino : Laura Battiferri
49551-Bronzino, Agnolo-Laura_Battiferri.jpg
Agnolo Bronzino : Maria de medici
49552-Bronzino, Agnolo-Maria_de_medici.jpg
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Biography
Artist photo

Agnolo di Cosimo (November 17, 1503 - November 23, 1572), usually known as Il Bronzino, or Agnolo Bronzino (mistaken attempts also have been made in the past to assert his name was Agnolo Tori and even Angelo (Agnolo) Allori), was an Italian Mannerist painter from Florence. His sobriquet, Bronzino, in all probability refers to his relatively dark skin.

Bronzino was born in Florence, the son of a butcher. According to his contemporary Vasari, Bronzino was a pupil first of Raffaellino del Garbo, and then of Pontormo, to whom he was apprenticed at 14. Pontormo is thought to have introduced a portrait of Bronzino as a child (seated on a step) into one of his series on Joseph in Egypt now in the National Gallery, London. Pontormo exercised a dominant influence on Bronzino's developing style, and the two were to remain collaborators for most of the former's life. An early example of Bronzino's hand has often been detected in the Capponi Chapel in the church of Santa Felicita by the Ponte Vecchio in Florence. Pontormo designed the interior and executed the altarpiece, the masterly Deposition from the Cross and the sidewall fresco Annunciation. Bronzino apparently was assigned the frescoes on the dome, which however have not survived. Of the four empanelled tondi or roundels depicting each of the evangelists, two were said by Vasari to have been painted by Bronzino. His style however is so similar to his master's that scholars still debate the specific attributions.



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