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314:, about 20 km west of Florence. Placing these two pictures together—one from his early style, and another from his mature period—throws Pontormo's artistic development into sharp relief. In the earlier work, Pontormo is much closer in style to his teacher, Andrea del Sarto, and to the early sixteenth-century renaissance artistic principles. For example, the figures stand at just under half the height of the overall picture, and though a bit more crowded than true high renaissance balance would prefer, at least are placed in a
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the four
Evangelists, nude, with books in their hands, it does not seem to me that in a single place did he give a thought to any order of composition, or measurement, or time, or variety in the heads, or diversity in the flesh-colours, or, in a word, to any rule, proportion or law of perspective, for the whole work is full of nude figures with an order, design, invention, composition, colouring, and painting contrived after his own fashion ...
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918:, for example, appear to sustain each other: removal of any one of them would cause the edifice to collapse. In other works, as in the Joseph canvases, the crowding makes for a confusing pictorial melee. It is in the later drawings that we see a graceful fusion of bodies in a composition which includes the oval frame of Jesus in the
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But I have never been able to understand the significance of this scene, ... I mean, what he could have intended to signify in that part where there is Christ on high, raising the dead, and below His feet is God the Father, who is creating Adam and Eve. Besides this, in one of the corners, where are
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This tumultuous oval of figures took three years for
Pontormo to complete. According to Vasari, because Pontormo desired above all to "do things his own way without being bothered by anyone," the artist screened off the chapel so as to prevent interfering opinions. Vasari continues, "And so, having
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that adorns the interior of Santa
Felicità, thus uniting their painted space with the viewer's actual space. The startling contrast between the figures and ground makes their brilliant garments almost seem to glow in the light of the window between them, against the stripped-down background, as if
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Perhaps as a result of Vasari's derision, or perhaps because of the vagaries of aesthetic taste, Pontormo's work was quite out of fashion for several centuries. The fact that so much of his work has been lost or severely damaged is a testament to this neglect, though he has received renewed
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appear as anguished as the mourners. Though they are bearing the weight of a full-grown man, they barely seem to be touching the ground; the lower figure in particular balances delicately and implausibly on his front two toes. These two boys have sometimes been interpreted as
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day composed of an unsettling morass of writhing figures. The remaining drawings, showing a bizarre and mystical ribboning of bodies, had an almost hallucinatory effect. Florentine figure painting had mainly stressed linear and sculptural figures. For example, the Christ in
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twists sinuously, as if rippling through the heavens in the dance of ultimate finality. Angels swirl about him in even more serpentine poses. If
Pontormo's work from the 1520s seemed to float in a world little touched by gravitational force, the
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of
Pontormo depicts him as withdrawn and steeped in neurosis while at the centre of the artists and patrons of his lifetime. This image of Pontormo has tended to colour the popular conception of the artist, as seen in the film of
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project, which he often kept shielded from onlookers. Yet as the art historian
Elizabeth Pilliod has pointed out, Vasari was in fierce competition with the Pontormo/Bronzino workshop at the time when he was writing his
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Regardless of the veracity of Vasari's account, it is certainly true that
Pontormo's artistic idiosyncrasies produced a style that few were able (or willing) to imitate, with the exception of his closest pupil
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is the empty space occupying the central pictorial plane as all the
Biblical personages seem to fall back from this point. It has been suggested that this emptiness may be a physical representation of the
860:, the wife of famous military leader Giovanni delle Bande Nere de' Medici, and Giulia, a Medici relative who was left in Maria's care after the murder of the child's father; Walters Art Museum
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242:, with whom he did not remain long, for after he had done the cartoons for the arch of the Servites, it does not seem that Andrea bore him any good will, whatever the cause may have been.
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followed vows of silence. He painted a series of frescoes, now quite damaged, on the passion and resurrection of Christ. These frescoes reveal especially strongly the influence of
206:. He is famous for his use of twining poses, coupled with ambiguous perspective; his figures often seem to float in an uncertain environment, unhampered by the forces of gravity.
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330:. Moreover, the clear architectural setting that is carefully constructed in the earlier piece has been completely abandoned in favour of a peculiar nondescript urban setting.
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are presented in an environment that is so simplified as to almost seem stark. The fictive architectural details above each of them, are painted to resemble the gray stone
887:. Bronzino's early work is so close to that of his teacher, that the authorship of several paintings from the 1520s and '30s is still under dispute—for example, the four
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painted it in his own way without any of his friends being able to point anything out to him, it was finally uncovered and seen with astonishment by all of
Florence..."
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makes an interesting comparison with his painting of the same subject which was done about a decade later, now housed in the parish church of St. Michael
Archangel in
299:'s work, influenced his later style. Haunted faces and elongated bodies are characteristic of his work. An example of Pontormo's early style is a fresco depicting the
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art is to characterize it as art that follows art rather than art that follows nature, or life. Though Freedberg did not classify Pontormo as a strictly
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Pontormo went against pictorial and theological tradition by placing God the Father at the feet of Christ, instead of above him, an idea
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The Morgan Library and Museum, Jacopo Pontormo, Bruce Edelstein, Davide Gasparotto, Giada Damen, and Cristina Gnoni Mavarelli. 2018.
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1963:
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914:. His eccentricities also resulted in an original sense of composition. At best, his compositions are cohesive. The figures in the
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608:, the artist's primary attention is on the figures themselves rather than their setting. Placed against white walls, the Angel
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setting at a comfortable distance from the viewer. In the later work, the viewer is brought almost uncomfortably close to the
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The figures, with their sharply modelled forms and brilliant colours, are united in an enormously complex, swirling ovular
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Keener, Chrystine. (2021). Pontormo's lost frescoes at San Lorenzo: political propaganda and dynastic symbolism /.
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s could well have provided Vasari with ample motivation for running down the artistic lineage of his opponent for
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interpretation. Finally, it has also been noted that the positions of Christ and the Virgin seem to echo those of
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2599:"Jacopo Carucci da Pontormo, his life and works", by Frederik Mortimer Clapp, Oxford University Press, 1916
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in London) offer another example of Pontormo's developing style. Done around the same time as the earlier
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relates how the orphaned boy, "young, melancholy, and lonely", was shuttled around as a young apprentice:
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668:. The two artists collaborated so closely that specialists dispute which roundels each of them painted.
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831:. Fago portrays Pontormo as mired in a lonely and ultimately paranoid dedication to his final
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Official website of the Church of San Michele Arcangelo, Carmignano, home of the Visitation
2480:, tr. Julia Conaway Bondanella and Peter Bondanella (Oxford University Press, 1998), p. 409
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1999:
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Many of Pontormo's works have been damaged, including the lunettes for the cloister in the
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444:'s engravings, which often provided inspiration to Pontormo after he returned to Florence.
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558:. It has been speculated that the bearded figure in the background at the far right is a
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Jacopo had not been many months in Florence before Bernardo Vettori sent him to stay with
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attention from contemporary art historians. Indeed, between 1989 and 2002, Pontormo's
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is a massive painted block, stern in his wrath; by contrast, Pontormo's Jesus in the
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218:, to Bartolomeo di Jacopo di Martino Carrucci and Alessandra di Pasquale di Zanobi.
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Still visible to the traveller Lassel in his travels through Italy, published 1698
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genre style, very uncommon for Florentine painters; their subject was the obscure
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Cerruti Collection, Castello di Rivoli Museo d’Arte Contemporanea, Rivoli- Turin
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Perhaps most tragic is the loss of the unfinished frescoes for the choir of the
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Jacopo Carucci was born at Pontorme (then known as Pontormo or Puntormo), near
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His portraits, acutely characterized, show similarly Mannerist proportions.
488:, housed by a shallow, somewhat flattened space. Although commonly known as
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figures seem to have escaped it altogether and flail through rarefied air.
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the couple miraculously appeared in an extension of the chapel wall. The
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Marriage bedchamber panels for Pier Francesco Borgherini. (Two others by
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disrupts that theory, just as the lack of cross poses a problem for the
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A number of Pontormo's other works have also remained in Florence; the
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391:(1519–20), 17 km NNW of Florence. There he painted frescoes in a
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mother and son have been separated. Thus in addition to elements of a
412:
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which consumed the last decade of his life. His frescoes depicted a
342:, 1515–1518; Oil on wood; 96 x 109 cm; National Gallery, London
187:
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519:. In this case, the subject of the picture would be more akin to an
2958:
939:, 1528–1530, oil on canvas, J. Paul Getty Museum, Los Angeles
911:
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759:. They now are displayed indoors, although in their damaged state.
392:
369:
368:, the sitter for the boy seated on a step is his young apprentice,
303:, with its dancelike, balanced figures, painted from 1514 to 1516.
288:
97:
2463:, then perhaps we can understand better how Pontormo fits in as a
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481:(1528), is considered by many Pontormo's surviving masterpiece.
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Lives of the Most Excellent Painters, Sculptors, and Architects
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75:
51:
Lives of the Most Excellent Painters, Sculptors, and Architects
280:, 1528–29, Church of San Francesco e Michele, Carmignano
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Pontormo, Bronzino, and Allori: A Genealogy of Florentine Art
1751:
512:
384:
364:, at left) show a much more mannerist leaning. According to
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2224:
Portrait of Maria Salviati de' Medici and Giulia de' Medici
649:
526:
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Many of Pontormo's well-known canvases, such as the early
577:'s emotional emptiness at the prospect of losing her son.
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in the picture. The scene might more properly be called a
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and into his own larger history of sixteenth-century art.
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Madonna and Child with the Infant Saint John the Baptist
2427:
Miraculous Encounters: Pontormo from Drawing to Painting
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Crucifix with Madonna & St. John, and Sant'Agostino
375:
In the years between the SS Annunziata and San Michele
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Madonna and Child with the Infant St John the Baptist
161:; May 24, 1494 – January 2, 1557), usually known as
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Saint John the Evangelist and Michael the Archangel
1931:
Portrait of Francesca Capponi, as St. Mary Magdalen
2796:Holy Family with the Infant Saint John the Baptist
2429:. Los Angeles: The J. Paul Getty Museum. p. 109.
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664:, worked on by both Pontormo and his chief pupil
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2804:Virgin and Child with Saint Anne and Four Saints
2071:Martyrdom of San Maurizio and the Theban Legions
1971:Virgin and Child with Saint Anne and Four Saints
1376:John the Evangelist & the Archangel Gabriel
383:decoration of the salon of the Medici country
2629:
2565:Pontormo's paintings and drawings illustrated
2505:(New Haven, CT: Yale University Press, 2001).
842:. This professional rivalry between the two
701:Martyrdom of St Maurice and the Theban Legion
428:broke out in Florence, Pontormo left for the
202:regularity that characterized the art of the
2542:Joseph Carrucci, known as Pontormo 1494–1557
566:. Another unique feature of this particular
2501:See "An Introduction to Vasari's Story" in
1451:Portrait of Gentleman with book and gloves
943:
326:, who drift toward each other in clouds of
295:patronage. A foray to Rome, largely to see
209:
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2622:
2459:does hold a quotation from Michelangelo's
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1442:Metropolitan Museum of Art, New York City
871:(at right), held the title of the world's
42:
1467:
898:Pontormo shares some of the mannerism of
710:) depict crowds milling about in extreme
506:. Those who are lowering (or supporting)
447:
301:Visitation of the Virgin and St Elizabeth
260:, 1514–1516; Fresco; 392 x 337 cm;
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852:
744:
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633:in both the style and swaying postures.
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332:
14:
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2586:A diary of his last two years survives
1142:Joseph reveals himself to his brothers
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2116:Städelsches Kunstinstitut, Frankfurt
925:
525:, though the lack of any discernible
181:
156:
652:of the chapel is now lost, but four
515:, carrying Christ in his journey to
463:The large altarpiece canvas for the
2251:National Gallery, Washington, D.C.
1959:San Francesco e Michele, Carmignano
1529:Madonna with Child & Two Saints
906:. In some ways, he anticipated the
24:
2828:Nativity of Saint John the Baptist
2534:
2520:de' Medici with Giulia de' Medici"
2108:Portrait of lady in red with puppy
1723:Madonna and child & two angels
552:, this picture carries hints of a
25:
3037:
2700:Pharaoh with his Butler and Baker
2558:
2401:"Pontormo: Miraculous Encounters"
2164:Portrait of Alessandro de' Medici
2144:Portrait of Alessandro de' Medici
1199:Pharaoh with his Butler and Baker
764:Basilica of San Lorenzo, Florence
194:. His work represents a profound
190:painter and portraitist from the
2908:Portrait of Monsignor Della Casa
1842:Madonna with Child & St John
1823:Madonna with Child & St John
1575:Madonna with Child & St John
629:in the church of San Michele at
594:On the wall to the right of the
268:
250:
2676:Woman with a Basket of Spindles
2455:painter, if we accept that the
2405:The Morgan Library & Museum
2245:Portrait of Niccolò Ardinghelli
1490:Mary and Child with Four Saints
1091:Santissima Annunziata, Florence
1014:Santissima Annunziata, Florence
757:Carthusian monastery of Galluzo
287:Pontormo painted in and around
2692:Joseph's Brothers Beg for Help
2508:
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2470:
2439:
2419:
2393:
2030:Portrait of a man in a red cap
1180:Joseph's Brothers Beg for Help
812:Critical assessment and legacy
625:resembles his above-mentioned
604:scene (at left). As with the
158:[ˈjaːkopoka(r)ˈruttʃi]
13:
1:
2986:16th-century Italian painters
2949:Santissima Annunziata frescos
2386:
2190:
1743:Portrait of young man in pink
993:Bowdoin College Museum of Art
714:of greatly varied positions.
704:
693:
490:The Deposition from the Cross
478:The Deposition from the Cross
457:The Deposition from the Cross
379:s, Pontormo took part in the
238:, and finally, in 1512, with
128:The Deposition from the Cross
2764:Portrait of Cosimo the Elder
2643:
2342:Museum of Fine Arts, Boston
1760:Tabernacle of San Giuliano,
1468:Mature works (1522–30)
1354:Portrait of Cosimo the Elder
1103:Lady with Basket of Spindles
640:was originally painted with
540:in Rome, though here in the
27:Florentine Mannerist painter
7:
2374:
2311:National Library, Florence
1938:Whitfield Fine Art, London
1862:(Mark painted by Bronzino)
1731:San Francisco Museum of Art
1286:Whitfield Fine Art, London
1030:Whitfield Fine Art, London
910:as well as the tensions of
10:
3042:
2981:Italian Mannerist painters
2916:Portrait of Maria Salviati
2570:Pontormo at Olga's Gallery
2518:Portrait of Maria Salviati
2349:
2332:
2316:
2296:
2276:
2262:Portrait of Maria Salviati
2258:
2242:
2221:
2206:Study for the Three Graces
2203:
2181:
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2152:Philadelphia Museum of Art
2141:
2121:
2105:
2084:
2073:(Pontormo & Bronzino)
2068:
2027:
2009:
1989:
1967:
1945:
1928:
1903:
1880:
1857:
1838:
1820:
1797:
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1705:Study of a Carthusian Monk
1702:
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1279:St Jerome & St Francis
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1037:
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982:
963:
858:Portrait of Maria Salviati
829:Pontormo, a heretical love
730:Christ and Creation of Eve
504:Bearing the Body of Christ
316:classicizing architectural
2926:
2844:Deposition from the Cross
2651:
2214:Uffizi Gallery, Florence
2198:Uffizi Gallery, Florence
2185:Expulsion of Adam and Eve
2079:Uffizi Gallery, Florence
2061:
2058:
2055:
1860:Matthew, Luke, & John
1850:Uffizi Gallery, Florence
1832:Palazzo Corsini, Florence
1810:Lower Saxony State Museum
1784:Birth of St. John Baptist
1713:Uffizi Gallery, Florence
1695:Uffizi Gallery, Florence
1480:
1477:
1474:
1343:Uffizi Gallery, Florence
1226:National Gallery, London
1207:National Gallery, London
1188:National Gallery, London
1169:National Gallery, London
956:
953:
950:
802:found deeply disturbing:
636:Vasari tells us that the
133:
121:
113:
105:
86:
63:
41:
34:
2876:Portrait of a Halberdier
2860:The Ten Thousand Martyrs
2679:(c. 1514–1515, disputed)
2668:Scene from Hospital Life
2544:. Köln: Konemann, 1988.
2478:The Lives of the Artists
2445:One attempt at defining
2172:Art Institute of Chicago
2064:
2013:The Ten Thousand Martyrs
1992:Portrait of a Halberdier
1551:Holy Family with St John
1483:
1041:Episode of Hospital Life
968:(uncertain attribution)
959:
944:Early works (until 1521)
936:Portrait of a Halberdier
868:Portrait of a Halberdier
648:. The decoration in the
473:Santa Felicita, Florence
262:SS. Annunziata, Florence
210:Biography and early work
2996:Italian Roman Catholics
2892:Expulsion from Paradise
2812:Portrait of a Young Man
2684:Joseph Sold to Potiphar
2134:Galleria dell'Accademia
2049:Late works (after 1530)
1516:Fondazione Giorgio Cini
1508:Portrait of two friends
1161:Joseph Sold to Potiphar
895:in the Capponi Chapel.
873:most expensive painting
598:, Pontormo frescoed an
358:, these works (such as
2740:Portrait of a Musician
1750:Pinacoteca Communale,
1384:Church of S. Michele,
1062:Veronica and the Image
940:
861:
809:
752:
742:
732:
685:as well as portraits.
591:
460:
448:Main works in Florence
421:
343:
244:
204:Florentine Renaissance
100:, Republic of Florence
3001:Painters from Tuscany
2991:Italian male painters
2944:Florence Charterhouse
2852:Carmignano Visitation
2820:Penitent Saint Jerome
2788:Adoration of the Magi
2716:Portrait of a Jeweler
2148:before December 1535
1801:Penitent Saint Jerome
1396:Adoration of the Magi
1306:San Michele Visdomini
1251:Pinacoteca comunale,
933:
856:
804:
750:Dead in Last Judgment
748:
738:
728:
721:Lost or damaged works
583:
492:, there is no actual
455:
415:
350:canvases (now in the
336:
291:, often supported by
232:Mariotto Albertinelli
224:
2772:Vertumnus and Pomona
2660:San Ruffillo Madonna
2319:Portrait of Pontormo
2000:J. Paul Getty Museum
1678:Certosa di Galluzzo
1663:Certosa di Galluzzo
1646:Certosa di Galluzzo
1639:Christ before Pilate
1598:Prayer in Gesthemane
1435:Study of Man's Head
1416:Vertumnus and Pomona
1317:Portrait of Musician
1243:Giovanni Maria Pichi
1241:(Also attributed to
1128:Francesco Bacchiacca
434:Carthusian monastery
418:Vertumnus and Pomona
402:Vertumnus and Pomona
198:shift from the calm
80:Republic of Florence
2919:(c. 1543–1544)
2900:Madonna of the Book
2756:Saint Anthony Abbot
2719:(c. 1517–1518)
1629:Certosa di Galluzo
1611:Certosa di Galluzzo
1498:Metropolitan Museum
1262:Portrait of Furrier
1071:Santa Maria Novella
995:, Brunswick, Maine
679:holds his mystical
564:Joseph of Arimathea
430:Certosa di Galluzzo
186:), was an Italian
183:[ponˈtormo]
3016:People from Empoli
2591:Pontormo. Pictures
2524:Walters Art Museum
2356:(Fresco cartoons)
2289:Capodimonte Museum
2233:Walters Art Museum
941:
926:Anthology of works
862:
753:
743:
733:
592:
461:
424:In 1522, when the
422:
344:
48:Illustration from
18:Jacopo da Pontormo
3026:Catholic painters
2968:
2967:
2780:Sacrificial Scene
2575:Giorgio Vasari's
2435:978-1-60606-589-1
2372:
2371:
2280:Sacrificial Scene
2046:
2045:
1465:
1464:
1335:St Anthony Abbott
1012:San Luca Chapel,
1005:Holy Conversation
985:Apollo and Daphne
966:Leda and the Swan
471:in the church of
459:, 1525–1528
228:Leonardo da Vinci
192:Florentine School
143:
142:
16:(Redirected from
3033:
2732:Pucci Altarpiece
2711:(1517, disputed)
2638:
2631:
2624:
2615:
2614:
2603:Internet Archive
2582:
2540:Krystof, Doris.
2528:
2527:
2512:
2506:
2499:
2493:
2487:
2481:
2476:Giorgio Vasari,
2474:
2468:
2443:
2437:
2423:
2417:
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2414:
2412:
2397:
2303:Pontormo's Diary
2195:
2192:
2053:
2052:
2038:National Gallery
1915:Santa Felicita,
1892:Santa Felicita,
1733:, San Francisco
1688:Supper in Emmaus
1607:1523–1525
1602:Jacopo da Empoli
1579:Rosso Fiorentino
1560:Hermitage Museum
1500:, New York City
1472:
1471:
1297:Pucci Altarpiece
1150:National Gallery
1108:Andrea del Sarto
1087:1514–1516
948:
947:
900:Rosso Fiorentino
740:Study for Deluge
709:
706:
699:) and the later
698:
695:
682:Supper at Emmaus
660:still adorn the
416:From lunette of
352:National Gallery
272:
254:
240:Andrea del Sarto
230:, and then with
185:
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124:
93:
46:
32:
31:
21:
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3021:Fresco painters
2971:
2970:
2969:
2964:
2934:Boldrone Shrine
2922:
2884:Venus and Cupid
2724:Joseph in Egypt
2647:
2642:
2580:
2561:
2537:
2535:Further reading
2532:
2531:
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2509:
2500:
2496:
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2484:
2475:
2471:
2444:
2440:
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2420:
2410:
2408:
2407:. April 4, 2018
2399:
2398:
2394:
2389:
2377:
2193:
2154:, Philadelphia
2125:Venus and Cupid
2096:Casa Buonarroti
2087:Noli me Tangere
2051:
1622:Walk to Calvary
1577:(Attributed to
1470:
1426:Poggio a Caiano
1218:Joseph in Egypt
1106:(attributed to
1069:Medici Chapel,
946:
928:
891:containing the
814:
773:Michelangelo's
723:
707:
696:
690:Joseph in Egypt
666:Agnolo Bronzino
646:Four Patriarchs
562:of Pontormo as
535:Michelangelo's
450:
432:, a cloistered
420:, 1520–21
389:Poggio a Caiano
361:Joseph in Egypt
339:Joseph in Egypt
285:
284:
283:
282:
281:
273:
265:
264:
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236:Piero di Cosimo
212:
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90:January 2, 1557
82:
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59:
37:
28:
23:
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15:
12:
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5:
3039:
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2988:
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2965:
2963:
2962:
2956:
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2946:
2941:
2939:Capponi Chapel
2936:
2930:
2928:
2924:
2923:
2921:
2920:
2912:
2911:(c. 1541–1544)
2904:
2903:(c. 1540–1545)
2896:
2888:
2880:
2872:
2871:(c. 1529–1536)
2864:
2863:(c. 1529–1530)
2856:
2855:(c. 1528–1530)
2848:
2840:
2839:(c. 1527–1528)
2832:
2824:
2823:(c. 1525–1528)
2816:
2815:(c. 1525–1526)
2808:
2807:(c. 1524–1529)
2800:
2799:(c. 1522–1523)
2792:
2791:(c. 1522–1523)
2784:
2776:
2775:(c. 1519–1521)
2768:
2767:(c. 1519–1520)
2760:
2752:
2744:
2743:(c. 1518–1519)
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2560:
2559:External links
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920:Last Judgement
813:
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796:Last Judgment,
780:Sistine Chapel
722:
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677:Uffizi Gallery
642:God the Father
469:Capponi Chapel
449:
446:
442:Albrecht Dürer
397:classical myth
366:Giorgio Vasari
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146:Jacopo Carucci
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114:Known for
111:
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103:
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96:
94:(aged 62)
88:
84:
83:
74:Pontorme near
73:
68:Jacopo Carucci
67:
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61:
60:
58:, 1568 edition
56:Giorgio Vasari
47:
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2594:and Biography
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2836:Annunciation
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1907:Annunciation
1905:
1896:, Florence.
1882:
1875:, Florence.
1859:
1840:
1825:(Bronzino?)
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1671:Resurrection
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1531:(Bronzino?)
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623:Annunciation
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587:Annunciation
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200:perspectival
174:
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149:
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123:Notable work
92:(1557-01-02)
71:May 24, 1494
49:
29:
3011:1557 deaths
3006:1494 births
2492:, page 105.
2411:November 9,
2353:San Lorenzo
2335:St. Francis
2321:(Bronzino)
2273:, Florence
2226:(Painting)
2194: 1535
2136:, Florence
2098:, Florence
2024:, Florence
1919:, Florence
1794:, Florence
1776:, Florence
1600:(copies by
1590:, Florence
1540:, Florence
1407:, Florence
1365:, Florence
1328:, Florence
1308:, Florence
1253:Sansepolcro
1238:St. Quentin
1119:, Florence
1073:, Florence
1052:, Florence
977:, Florence
893:Evangelists
850:patronage.
708: 1531
697: 1515
662:pendentives
658:Evangelists
614:Virgin Mary
575:Virgin Mary
546:Lamentation
499:Lamentation
486:composition
306:This early
106:Nationality
2975:Categories
2457:Deposition
2387:References
2337:(Drawing)
2308:1554–1556
2267:1543–1545
2208:(Drawing)
2174:, Chicago
2130:1532–1534
2113:1532–1533
2018:1529–1530
1996:1528–1530
1976:1528–1529
1957:Church of
1954:1528–1529
1949:Visitation
1935:1527–1528
1912:1527–1528
1889:1526–1528
1884:Deposition
1865:1525–1526
1847:1527–1528
1828:1526–1528
1806:1526–1527
1770:1525–1526
1747:1525–1526
1707:(Drawing)
1675:1523–1525
1660:1523–1525
1656:Deposition
1643:1523–1525
1626:1523–1525
1584:1523–1525
1556:1522–1524
1494:1520–1530
1454:1540-1541
1437:(Drawing)
1421:1519–1521
1401:1519–1521
1359:1518–1519
1340:1518–1519
1322:1518–1519
1266:1517–1518
1223:1517–1518
1204:1516–1517
1166:1516–1517
1146:1516–1517
1113:1516–1517
1082:Visitation
971:1512–1513
916:Deposition
877:Old Master
631:Carmignano
627:Visitation
606:Deposition
596:Deposition
569:Deposition
550:Entombment
542:Deposition
531:Deposition
522:Entombment
467:-designed
436:where the
377:Visitation
356:Visitation
312:Carmignano
308:Visitation
277:Visitation
258:Visitation
173:or simply
2954:Mannerism
2895:(c. 1535)
2887:(c. 1533)
2783:(c. 1520)
2759:(c. 1519)
2751:(c. 1519)
2727:(c. 1518)
2703:(c. 1515)
2695:(c. 1515)
2687:(c. 1515)
2671:(c. 1514)
2663:(c. 1514)
2652:Paintings
2465:mannerist
2448:mannerist
2291:, Naples
2056:Painting
2040:, London
1774:Accademia
1475:Painting
1152:, London
1050:Accademia
951:Painting
816:Vasari's
656:with the
196:stylistic
188:Mannerist
138:Mannerism
2959:Bronzino
2645:Pontormo
2375:See also
2285:c. 1545
2229:c. 1539
1982:, Paris
1762:Boldrone
1534:c. 1522
1512:c. 1522
1027:c. 1514
912:El Greco
885:Bronzino
692:series (
654:roundels
590:, fresco
393:pastoral
370:Bronzino
289:Florence
175:Pontormo
171:Pontormo
150:Carrucci
134:Movement
117:Painting
98:Florence
36:Pontormo
2961:(pupil)
2927:Related
2453:maniera
2299:My Book
1814:Hanover
908:Baroque
902:and of
844:bottega
794:In his
778:in the
610:Gabriel
407:lunette
328:drapery
109:Italian
2879:(1530)
2847:(1528)
2831:(1526)
2735:(1518)
2548:
2433:
1520:Venice
1386:Empoli
875:by an
848:Medici
800:Vasari
638:cupola
517:Heaven
513:angels
508:Christ
426:plague
381:fresco
348:Joseph
320:Virgin
293:Medici
220:Vasari
216:Empoli
163:Jacopo
76:Empoli
2461:Pietà
2211:1535
2092:1531
2076:1531
2065:Link
2062:Site
2059:Date
2034:1530
1788:1526
1752:Lucca
1727:1525
1710:1525
1692:1525
1484:Link
1481:Site
1478:Date
1381:1519
1302:1518
1283:1518
1248:1517
1185:1515
1066:1515
1046:1514
1009:1514
989:1513
960:Link
957:Site
954:Date
889:tondi
555:Pietà
537:Pietà
494:cross
438:monks
405:in a
385:villa
2601:(at
2577:Vita
2546:ISBN
2431:ISBN
2413:2018
819:Life
650:dome
644:and
612:and
584:The
548:and
527:tomb
346:The
322:and
179:IPA:
154:IPA:
87:Died
64:Born
502:or
399:of
387:at
148:or
54:by
2977::
2522:.
2403:.
2305:)
2191:c.
1871:,
1812:,
1764:,
1604:)
1581:)
1562:,
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1245:)
1130:)
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922:.
879:.
827:,
705:c.
694:c.
409:.
372:.
234:,
169:)
167:da
78:,
2637:e
2630:t
2623:v
2605:)
2526:.
2516:"
2415:.
2301:(
1235:*
703:(
177:(
165:(
152:(
20:)
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