antique oil painting old master Bronzino Agnolo di Cosimo

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Bronzino, Agnolo
(Agnolo di Cosimo)
(1503-72)

Florentine Mannerist painter, the pupil and adopted son of Pontormo, who introduced Bronzino, Agnolo’s portrait as a child into Bronzino, Agnolo’s painting Joseph in Egypt (National Gallery, London).

The origin of Bronzino, Agnolo’s nickname is uncertain, but possibly derived from Bronzino, Agnolo’s having a dark complexion. Bronzino was deeply attached to Pontormo and Bronzino, Agnolo’s style was heavily indebted to Bronzino, Agnolo’s master.

However, Bronzino lacked the emotional intensity that was such a characteristic of Pontormo's work and excelled as a portraitist rather than a religious painter. Bronzino Agnolo was court painter to Duke Cosimo I de Medici for most of Bronzino, Agnolo’s career, and Bronzino, Agnolo’s work influenced the course of European court portraiture for a century. Cold, cultured, and unemotionally analytical, Bronzino, Agnolo’s portraits convey a sense of almost insolent assurance.

Bronzino was also a poet, and Bronzino, Agnolo’s most personal portraits are perhaps those of other literary figures (Laura Battiferri, Palazzo Vecchio, Florence, c.1560). Bronzino Agnolo was less successful as a religious painter, Bronzino, Agnolo’s lack of real feeling leading to empty, elegant posturing, as in The Martyrdom of S. Lorenzo (S. Lorenzo, Florence, 1569), in which almost every one of the extraordinarily contorted poses can be traced back to Raphael or to Michelangelo, whom Bronzino idolized. It is the type of work that got Mannerism a bad name. Bronzino's skill with the nude was better deployed in the celebrated Venus, Cupid, Folly, and Time (National Gallery, London), which conveys strong feelings or eroticism under the pretext of a moralizing allegory. Bronzino, Agnolo’s other major works include the design of a series of tapestries on The Story of Joseph for the Palazzo Vecchio.

He was a much respected figure who took a prominent part in the activities of the Accademia del Disegno, of which Bronzino Agnolo was a founder member in 1563. Bronzino, Agnolo’s pupils included Alessandro Allori, who--in a curious mirroring of Bronzino, Agnolo’s own early career--was also Bronzino, Agnolo’s adopted son.

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