(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. The origin of his nickname, Bronzino is unknown, but could derive from his dark complexion, or from that he gave many of his portrait subjects. Bronzino was born in Florence. According to his contemporary Vasari, Bronzino was a pupil first of Raffaellino del Garbo, and then of Pontormo. The latter was ultimately the primary influence on Bronzino's developing style and the young artist remained devoted to his eccentric teacher.   Related Paintings of Angelo Bronzino :. | Portrait of Eleonora di Toledo | Venus, Cupid, Folly and Time | Portrait of Eleanor of Toledo and Her Son | Portrat des Guidobaldo II | Deposition of Christ |
Related Artists:
Samuel J.Reader
1853-1914
PANTOJA DE LA CRUZ, Juan
Spanish Painter, 1553-1608 Spanish painter. He must have moved to Madrid when he was very young, receiving his training in the workshop of Alonso S?nchez Coello, painter to Philip II. On numerous occasions he declared himself to be a follower of S?nchez Coello, in whose workshop he was an oficial, and he probably collaborated to a considerable degree on many of his master's mature works. There are very few signed works by Pantoja from before the death of S?nchez Coello, although some anonymous paintings from the workshop are probably by him. In Madrid in 1587 Pantoja married a woman of some means, and by the following year, when S?nchez Coello died, he was an independent painter, aspiring to his master's position. Documentation exists from 1590 concerning portraits by Pantoja of members of the royal family including one of Don Felipe, the future Philip III (1593; Vienna, Ksthist. Mus.). On Philip's accession to the throne in 1598 Pantoja painted another portrait of him (Vienna, Ksthist. Mus.) and became the official portrait painter for the court and for the nobility of Madrid; there is detailed documentation for his work from this time. He painted clothing and jewels with precision, in minute detail and with a dry objectivity in the Flemish tradition. His treatment of faces, however, clearly reveals his study of Venetian portraiture, and in particular that of Titian, as well as sharp psychological penetration. In his portraits of royal children he maintained, albeit with a certain rigidity, the charm that S?nchez Coello in his paintings had given these infant figures tightly swathed in official robes
WTEWAEL, Joachim
Dutch painter (b. 1566, Utrecht, d. 1638, Utrecht). Dutch painter and draughtsman. He was one of the last exponents of MANNERISM. From c. 1590 until 1628, the year of his latest known dated paintings, he employed such typical Mannerist formal devices as brilliant decorative colour, contrived spatial design and contorted poses. He sometimes combined such artifice with naturalism, and this amalgam represents the two approaches Dutch 16th- and 17th-century theorists discussed as uyt den geest ('from the imagination') and naer 't leven ('after life'). Wtewael's activity reflects the transition from Mannerism to a more naturalistic style in Dutch art. Slightly over 100 of his paintings and about 80 drawings are known. Subjects from the Bible and mythology predominate;