1. 12 Jan


    The Francesco St Jerome (1590-1595). Jacopo Palma il Giovane (Italian, Mannerist, 1548–1628). Oil on copper. Saint Jerome (c. 347–420) was a Roman Christian priest, confessor, theologian and historian, and who became a Doctor of the Church. He is best known for his translation of the Bible into Latin (the Vulgate), and his commentaries on the Hebrew Gospel. His list of writings is extensive. Patron saint of librarians and translators.

    The Francesco St Jerome (1590-1595). Jacopo Palma il Giovane (Italian, Mannerist, 1548–1628). Oil on copper.

    Saint Jerome (c. 347–420) was a Roman Christian priest, confessor, theologian and historian, and who became a Doctor of the Church. He is best known for his translation of the Bible into Latin (the Vulgate), and his commentaries on the Hebrew Gospel. His list of writings is extensive.

    Patron saint of librarians and translators.

     

  2. 26 Oct


    María Magdalena. Michele Tosini (Italian, 1503–1577). Museum of Fine Arts, Houston. Tosini studied with Lorenzo di Credi and Antonio del Ceraiolo before entering the workshop of Ridolfo Ghirlandaio. Tosini began painting in the early 16th-century Florentine style. His acceptance of Mannerism was slow, but by the 1540s the influence of Francesco Salviati and Agnolo Bronzino was observable in his work. Tosini adopted a vocabulary derived from the work of Michelangelo and painted some of his best-known works in this manner 

    María Magdalena. Michele Tosini (Italian, 1503–1577). Museum of Fine Arts, Houston.

    Tosini studied with Lorenzo di Credi and Antonio del Ceraiolo before entering the workshop of Ridolfo Ghirlandaio. Tosini began painting in the early 16th-century Florentine style. His acceptance of Mannerism was slow, but by the 1540s the influence of Francesco Salviati and Agnolo Bronzino was observable in his work. Tosini adopted a vocabulary derived from the work of Michelangelo and painted some of his best-known works in this manner 

     

  3. 17 Oct


    The Muses: Clio, Euterpe and Thalia (1652-1655). Eustache Le Sueur (1616–1655). Oil on panel. Louvre Museum. Clio, the Muse of history, is holding the trumpet which heralds the great events of human history and the book in which they are recorded. Euterpe, the Muse of music, is playing the flute. Thalia, the Muse of comedy, is holding a mask in reference to the theater.  The landscape is both intimate and realist. The colors are refined. The yellow, pink, and blue of the gowns of the three figures echo the green foliage and the gray-blue sky. Le Sueur’s painting is a homage to Italian Mannerist painting.

    The Muses: Clio, Euterpe and Thalia (1652-1655). Eustache Le Sueur (1616–1655). Oil on panel. Louvre Museum.

    Clio, the Muse of history, is holding the trumpet which heralds the great events of human history and the book in which they are recorded. Euterpe, the Muse of music, is playing the flute. Thalia, the Muse of comedy, is holding a mask in reference to the theater. 

    The landscape is both intimate and realist. The colors are refined. The yellow, pink, and blue of the gowns of the three figures echo the green foliage and the gray-blue sky. Le Sueur’s painting is a homage to Italian Mannerist painting.

     

  4. 8 Jul


    Portrait of a Young Woman with Prayer Book (c1541-1545). Agnolo di Cosimo (1503 –1572), usually known as Il Bronzino, or Agnolo Bronzino, was an Italian Mannerist painter from Florence. Bronzino first received Medici patronage in 1539. It was not long before he became, and remained for most of his career, the official court painter of the Duke and his court. His portrait figures—often read as static, elegant, and stylish exemplars of unemotional haughtiness and assurance—influenced the course of European court portraiture for a century. 

    Portrait of a Young Woman with Prayer Book (c1541-1545). Agnolo di Cosimo (1503 –1572), usually known as Il Bronzino, or Agnolo Bronzino, was an Italian Mannerist painter from Florence.

    Bronzino first received Medici patronage in 1539. It was not long before he became, and remained for most of his career, the official court painter of the Duke and his court. His portrait figures—often read as static, elegant, and stylish exemplars of unemotional haughtiness and assurance—influenced the course of European court portraiture for a century. 

     

  5. 26 Jun


    windypoplarsroom: Don Alonso de Idiáquez, Duque de Ciudad Real (16th century). Otto van Veen (Flemish, 1556-1629). Oil on panel. Renaissance / Mannerism. Museo del Prado. Madrid.  Painter, draughtsman, and humanist active primarily in Antwerp and Brussels in the late sixteenth and early seventeenth century. He is known for running a large studio in Antwerp, producing several emblem books, and for being, from 1594 or 1595 until 1598, Peter Paul Rubens’s teacher. His role as a classically educated humanist artist (a pictor doctus) was influential on the young Rubens, who would take on that role himself.

    windypoplarsroom:

    Don Alonso de Idiáquez, Duque de Ciudad Real (16th century). Otto van Veen (Flemish, 1556-1629). Oil on panel. Renaissance / Mannerism. Museo del Prado. Madrid. 

    Painter, draughtsman, and humanist active primarily in Antwerp and Brussels in the late sixteenth and early seventeenth century. He is known for running a large studio in Antwerp, producing several emblem books, and for being, from 1594 or 1595 until 1598, Peter Paul Rubens’s teacher. His role as a classically educated humanist artist (a pictor doctus) was influential on the young Rubens, who would take on that role himself.

    (via rhaegartargaryen)

     

  6. 18 Jun


    Transit of San Hermenegildo (1602-1603), detail. Alonso Vázquez (1540-1608) & his student Juan de Uceda (Spanish, 1570-1631). Museum of Fine Arts, Seville, Spain. Oil painting on canvas. Vázquez`s style displays a mixture of Flemish and Italian elements which characterised Sevillian painting until well into the 17th century. Faithful to the principles of this late Mannerism, his painting hardly evolved. The preparation and general composition of the painting is attributed to Vázquez, who painted the lower part in which Saint Hermengild is comforted by angels. In the upper area, it is clear that some of the angels were painted by Vázquez due to their physical features.

    Transit of San Hermenegildo (1602-1603), detail. Alonso Vázquez (1540-1608) & his student Juan de Uceda (Spanish, 1570-1631). Museum of Fine Arts, Seville, Spain. Oil painting on canvas.

    Vázquez`s style displays a mixture of Flemish and Italian elements which characterised Sevillian painting until well into the 17th century. Faithful to the principles of this late Mannerism, his painting hardly evolved.

    The preparation and general composition of the painting is attributed to Vázquez, who painted the lower part in which Saint Hermengild is comforted by angels. In the upper area, it is clear that some of the angels were painted by Vázquez due to their physical features.

     

  7. 5 Jun


    deadpaint: Portrait of a Lady (1530). Francesco Ubertini Bachiacca II (1494-1557). Oil on panel. Private collection. A Florentine painter and draughtsman, Bachiacca is chiefly recognized as an artist who helped evolve the style of Mannerism. He is said to have studied with Umbrian painter Perugino and also collaborated with Franciabigio and Pontormo. His later work shows the influence of Michelangelo and from mannerists such as Il Bronzino. He often retained the balance and order of the early Renaissance style.  The spelling of his name is sometimes seen as Bacchiacca, and he is sometimes known as Francesco d’Ubertino Verdi.

    deadpaint:

    Portrait of a Lady (1530). Francesco Ubertini Bachiacca II (1494-1557).

    Oil on panel. Private collection. A Florentine painter and draughtsman, Bachiacca is chiefly recognized as an artist who helped evolve the style of Mannerism. He is said to have studied with Umbrian painter Perugino and also collaborated with Franciabigio and Pontormo.

    His later work shows the influence of Michelangelo and from mannerists such as Il Bronzino. He often retained the balance and order of the early Renaissance style. 

    The spelling of his name is sometimes seen as Bacchiacca, and he is sometimes known as Francesco d’Ubertino Verdi.

    (via marquise-de-colombe)

     

  8. 3 Jun


    “Portrait of Lucrezia Panciatichi” (detail above), c. 1545. Agnolo di Cosimo (1503-1572), usually known as Il Bronzino, or Agnolo Bronzino, was an Italian Mannerist painter from Florence. His sobriquet, Bronzino, in all probability refers to his relatively dark skin.

    Lucrezia di Sigismondo Pucci was the wife of Bartolomeo Panciatichi, a Florentine humanist and politician, also portrayed by Bronzino in another Uffizi portrait. Giorgio Vasari describes the two portrays as: “so natural that they seem truly living”. The show of refined garments and jewelry was intended not only to underline the élite position of the woman, but also aspects of her personality through a complex symbology, including the words “Amour dure sans fin” on the golden necklace, a reference to a love treatise written for the Grand Duke of Florence, Cosimo I de’ Medici, in 1547.

     

  9. 22 May


    Laura Battiferri degli Ammanati (1555). Agnolo Bronzino (1503–1572). Bronzino has painted her as Petrarch’s beloved “Laura.” She embodies Petrarch’s love through her “unapproachable, unattainable beauty… as chaste as the adored mistress of a troubadour, as modest and devout as a ‘Stilnovismo Beatrice’.” “Laura’s personality is even more elusive than her external appearance. She remains the incarnation of chaste and noble beauty.” This passage is framed by Laura Battiferri’s fingers in the portrait as she is shown holding Petrarch’s sonnets. Bronzino was the court painter at the Ducal Court in Florence to the Grand Duke Cosimo and Eleanora. Bronzino was part of the Mannerist movement that followed the High Renaissance chronologically in Italy.

    Laura Battiferri degli Ammanati (1555). Agnolo Bronzino (1503–1572).

    Bronzino has painted her as Petrarch’s beloved “Laura.” She embodies Petrarch’s love through her “unapproachable, unattainable beauty… as chaste as the adored mistress of a troubadour, as modest and devout as a ‘Stilnovismo Beatrice’.” “Laura’s personality is even more elusive than her external appearance. She remains the incarnation of chaste and noble beauty.” This passage is framed by Laura Battiferri’s fingers in the portrait as she is shown holding Petrarch’s sonnets.

    Bronzino was the court painter at the Ducal Court in Florence to the Grand Duke Cosimo and Eleanora. Bronzino was part of the Mannerist movement that followed the High Renaissance chronologically in Italy.

     

  10. 20 May


    exhibitmebournemouth: The Librarian. c.1566. Oil on canvas. Giuseppe Arcimboldo (1527–1593), Italian. Style: Mannerism (Late Renaissance). Genre: allegorical painting. Not only did Arcimboldo use fruits, vegetables, plants, and animals as objects for the compilations in his paintings, he also used inanimate objects such as books and papers. The Librarian is one such painting. In this painting, Arcimboldo’s subject is obvious: a lover of books made up out of books.

    exhibitmebournemouth:

    The Librarian. c.1566. Oil on canvas. Giuseppe Arcimboldo (1527–1593), Italian.

    Style: Mannerism (Late Renaissance). Genre: allegorical painting. Not only did Arcimboldo use fruits, vegetables, plants, and animals as objects for the compilations in his paintings, he also used inanimate objects such as books and papers. The Librarian is one such painting. In this painting, Arcimboldo’s subject is obvious: a lover of books made up out of books.

    (via the-paintrist)