Jul 28, 2025
Portrait of a Young Man Holding a Statuette (c. 1550). Bronzino.
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Portrait of a Young Man Holding a Statuette (c. 1550). Bronzino.
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Bronzino
attributed to Alessandro Allori (Florence 1535 - 1607)
Venus and Cupid, ca. 1570 top: 1st painting commissioned by Francesco I to celebrate his love for Bianca Cappello [sm size oil on wood 29 x 38.5 cm] Uffizi collection
Allori later created four versions of the subject, all large in size
At the time, Alessandro Allori was working for Alamanno Salviati, in whose collections he had the possibility to study Bronzino’s painting depicting Venus, Cupid and a satyr (today preserved in the Colonna gallery in Rome) and the version of Venus and Cupid by Michele Tosini, inspired by a famous cartoon of Michelangelo’s
thnx ojo-rojo and voyage-of-venus
https://www.uffizi.it/en/artworks/alessandro-allori-venus-and-cupid
La imagen representa la obra "Retrato de un joven con un libro", pintada por Agnolo Bronzino en la década de 1530.
La pintura es de Agnolo Bronzino (Agnolo di Cosimo di Mariano), artista italiano que vivió entre 1503 y 1572. La obra fue creada en la década de 1530.
La técnica utilizada es óleo sobre tabla, y las dimensiones de la pintura son 95,6 x 74,9 cm.
La obra forma parte de la colección del Museo Metropolitano de Arte de Nueva York @metmuseum donde fue transferida en 1929 como parte del legado de la Sra. H. O. Havemeyer.
Bronzino fue el principal retratista de Florencia y trabajó para la poderosa familia Medici. La identidad exacta del joven retratado es incierta, pero se ha especulado que podría ser un amigo literario del artista o miembro de la familia Medici.
Bronzino: Retrato de Laura Battiferri (1555)
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Madonna
Agnolo Bronzino (1503 – 1572)
Portrait of a Young Man
Bronzino (Agnolo di Cosimo di Mariano) Italian 1530s
"The identity of this arrogant young man is unknown, but he must have belonged to Bronzino’s close circle of literary friends in Florence and probably holds a book of poetry. The artist was himself a poet, delighting as much in the beauty of language as he did in the witty and fanciful details of his paintings. Here, Bronzino employs the ancient Roman tradition of fantastical decorations known as grotesques in his rendering of heads on the table and chair, and in the almost hidden, mask-like face suggested in the folds of the youth’s breeches. While these monstrous faces contrast with the youth’s handsome looks, they may also imply that his carefully crafted appearance is similarly a kind of mask."
Portrait of Lucrezia Panciatichi, Bronzino