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303:, 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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907:, 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
849:, 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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231:, 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
195:. 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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319:. 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
876:. 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
288:'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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1952:
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903:. His eccentricities also resulted in an original sense of composition. At best, his compositions are cohesive. The figures in the
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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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2588:"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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657:. The two artists collaborated so closely that specialists dispute which roundels each of them painted.
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820:. Fago portrays Pontormo as mired in a lonely and ultimately paranoid dedication to his final
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1937:
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Official website of the Church of San Michele Arcangelo, Carmignano, home of the Visitation
2469:, tr. Julia Conaway Bondanella and Peter Bondanella (Oxford University Press, 1998), p. 409
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1988:
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Many of Pontormo's works have been damaged, including the lunettes for the cloister in the
453:
433:'s engravings, which often provided inspiration to Pontormo after he returned to Florence.
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68:
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547:. 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
8:
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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
216:
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1911:
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207:, 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.
477:, 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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380:(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
401:
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which consumed the last decade of his life. His frescoes depicted a
331:, 1515–1518; Oil on wood; 96 x 109 cm; National Gallery, London
176:
126:
508:. In this case, the subject of the picture would be more akin to an
2947:
928:, 1528–1530, oil on canvas, J. Paul Getty Museum, Los Angeles
900:
873:
748:. They now are displayed indoors, although in their damaged state.
381:
358:
357:, the sitter for the boy seated on a step is his young apprentice,
292:, with its dancelike, balanced figures, painted from 1514 to 1516.
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86:
2452:, then perhaps we can understand better how Pontormo fits in as a
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470:(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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64:
40:
Lives of the Most Excellent Painters, Sculptors, and Architects
269:, 1528–29, Church of San Francesco e Michele, Carmignano
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Pontormo, Bronzino, and Allori: A Genealogy of Florentine Art
1740:
501:
373:
353:, at left) show a much more mannerist leaning. According to
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2213:
Portrait of Maria Salviati de' Medici and Giulia de' Medici
638:
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Many of Pontormo's well-known canvases, such as the early
566:'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
2416:
Miraculous Encounters: Pontormo from Drawing to Painting
1755:
Crucifix with Madonna & St. John, and Sant'Agostino
364:
In the years between the SS Annunziata and San Michele
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Madonna and Child with the Infant St John the Baptist
150:; May 24, 1494 – January 2, 1557), usually known as
2737:
Saint John the Evangelist and Michael the Archangel
1920:
Portrait of Francesca Capponi, as St. Mary Magdalen
2785:Holy Family with the Infant Saint John the Baptist
2418:. Los Angeles: The J. Paul Getty Museum. p. 109.
800:
653:, worked on by both Pontormo and his chief pupil
2961:
2793:Virgin and Child with Saint Anne and Four Saints
2060:Martyrdom of San Maurizio and the Theban Legions
1960:Virgin and Child with Saint Anne and Four Saints
1365:John the Evangelist & the Archangel Gabriel
372:decoration of the salon of the Medici country
2618:
2554:Pontormo's paintings and drawings illustrated
2494:(New Haven, CT: Yale University Press, 2001).
831:. This professional rivalry between the two
690:Martyrdom of St Maurice and the Theban Legion
417:broke out in Florence, Pontormo left for the
191:regularity that characterized the art of the
2531:Joseph Carrucci, known as Pontormo 1494–1557
555:. Another unique feature of this particular
2490:See "An Introduction to Vasari's Story" in
1440:Portrait of Gentleman with book and gloves
932:
315:, who drift toward each other in clouds of
284:patronage. A foray to Rome, largely to see
198:
2625:
2611:
2448:does hold a quotation from Michelangelo's
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1431:Metropolitan Museum of Art, New York City
860:(at right), held the title of the world's
31:
1456:
887:Pontormo shares some of the mannerism of
699:) depict crowds milling about in extreme
495:. Those who are lowering (or supporting)
436:
290:Visitation of the Virgin and St Elizabeth
249:, 1514–1516; Fresco; 392 x 337 cm;
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841:
733:
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713:
709:
622:in both the style and swaying postures.
568:
440:
400:
321:
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2575:A diary of his last two years survives
1131:Joseph reveals himself to his brothers
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2105:Städelsches Kunstinstitut, Frankfurt
914:
514:, though the lack of any discernible
170:
145:
641:of the chapel is now lost, but four
504:, carrying Christ in his journey to
452:The large altarpiece canvas for the
2240:National Gallery, Washington, D.C.
1948:San Francesco e Michele, Carmignano
1518:Madonna with Child & Two Saints
895:. In some ways, he anticipated the
13:
2817:Nativity of Saint John the Baptist
2523:
2509:de' Medici with Giulia de' Medici"
2097:Portrait of lady in red with puppy
1712:Madonna and child & two angels
541:, this picture carries hints of a
14:
3026:
2689:Pharaoh with his Butler and Baker
2547:
2390:"Pontormo: Miraculous Encounters"
2153:Portrait of Alessandro de' Medici
2133:Portrait of Alessandro de' Medici
1188:Pharaoh with his Butler and Baker
753:Basilica of San Lorenzo, Florence
183:. His work represents a profound
179:painter and portraitist from the
2897:Portrait of Monsignor Della Casa
1831:Madonna with Child & St John
1812:Madonna with Child & St John
1564:Madonna with Child & St John
618:in the church of San Michele at
583:On the wall to the right of the
257:
239:
2665:Woman with a Basket of Spindles
2444:painter, if we accept that the
2394:The Morgan Library & Museum
2234:Portrait of Niccolò Ardinghelli
1479:Mary and Child with Four Saints
1080:Santissima Annunziata, Florence
1003:Santissima Annunziata, Florence
746:Carthusian monastery of Galluzo
276:Pontormo painted in and around
2681:Joseph's Brothers Beg for Help
2497:
2484:
2472:
2459:
2428:
2408:
2382:
2019:Portrait of a man in a red cap
1169:Joseph's Brothers Beg for Help
801:Critical assessment and legacy
614:resembles his above-mentioned
593:scene (at left). As with the
147:[ˈjaːkopoka(r)ˈruttʃi]
1:
2975:16th-century Italian painters
2938:Santissima Annunziata frescos
2375:
2179:
1732:Portrait of young man in pink
982:Bowdoin College Museum of Art
703:of greatly varied positions.
693:
682:
479:The Deposition from the Cross
467:The Deposition from the Cross
446:The Deposition from the Cross
368:s, Pontormo took part in the
227:, and finally, in 1512, with
117:The Deposition from the Cross
2753:Portrait of Cosimo the Elder
2632:
2331:Museum of Fine Arts, Boston
1749:Tabernacle of San Giuliano,
1457:Mature works (1522–30)
1343:Portrait of Cosimo the Elder
1092:Lady with Basket of Spindles
629:was originally painted with
529:in Rome, though here in the
16:Florentine Mannerist painter
7:
2363:
2300:National Library, Florence
1927:Whitfield Fine Art, London
1851:(Mark painted by Bronzino)
1720:San Francisco Museum of Art
1275:Whitfield Fine Art, London
1019:Whitfield Fine Art, London
899:as well as the tensions of
10:
3031:
2970:Italian Mannerist painters
2905:Portrait of Maria Salviati
2559:Pontormo at Olga's Gallery
2507:Portrait of Maria Salviati
2338:
2321:
2305:
2285:
2265:
2251:Portrait of Maria Salviati
2247:
2231:
2210:
2195:Study for the Three Graces
2192:
2170:
2150:
2141:Philadelphia Museum of Art
2130:
2110:
2094:
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2062:(Pontormo & Bronzino)
2057:
2016:
1998:
1978:
1956:
1934:
1917:
1892:
1869:
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1709:
1694:Study of a Carthusian Monk
1691:
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1268:St Jerome & St Francis
1265:
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1113:
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1048:
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1009:
991:
971:
952:
847:Portrait of Maria Salviati
818:Pontormo, a heretical love
719:Christ and Creation of Eve
493:Bearing the Body of Christ
305:classicizing architectural
2915:
2833:Deposition from the Cross
2640:
2203:Uffizi Gallery, Florence
2187:Uffizi Gallery, Florence
2174:Expulsion of Adam and Eve
2068:Uffizi Gallery, Florence
2050:
2047:
2044:
1849:Matthew, Luke, & John
1839:Uffizi Gallery, Florence
1821:Palazzo Corsini, Florence
1799:Lower Saxony State Museum
1773:Birth of St. John Baptist
1702:Uffizi Gallery, Florence
1684:Uffizi Gallery, Florence
1469:
1466:
1463:
1332:Uffizi Gallery, Florence
1215:National Gallery, London
1196:National Gallery, London
1177:National Gallery, London
1158:National Gallery, London
945:
942:
939:
791:found deeply disturbing:
625:Vasari tells us that the
122:
110:
102:
94:
75:
52:
30:
23:
2865:Portrait of a Halberdier
2849:The Ten Thousand Martyrs
2668:(c. 1514–1515, disputed)
2657:Scene from Hospital Life
2533:. Köln: Konemann, 1988.
2467:The Lives of the Artists
2434:One attempt at defining
2161:Art Institute of Chicago
2053:
2002:The Ten Thousand Martyrs
1981:Portrait of a Halberdier
1540:Holy Family with St John
1472:
1030:Episode of Hospital Life
957:(uncertain attribution)
948:
933:Early works (until 1521)
925:Portrait of a Halberdier
857:Portrait of a Halberdier
637:. The decoration in the
462:Santa Felicita, Florence
251:SS. Annunziata, Florence
199:Biography and early work
2985:Italian Roman Catholics
2881:Expulsion from Paradise
2801:Portrait of a Young Man
2673:Joseph Sold to Potiphar
2123:Galleria dell'Accademia
2038:Late works (after 1530)
1505:Fondazione Giorgio Cini
1497:Portrait of two friends
1150:Joseph Sold to Potiphar
884:in the Capponi Chapel.
862:most expensive painting
587:, Pontormo frescoed an
347:, these works (such as
2729:Portrait of a Musician
1739:Pinacoteca Communale,
1373:Church of S. Michele,
1051:Veronica and the Image
929:
850:
798:
741:
731:
721:
674:as well as portraits.
580:
449:
437:Main works in Florence
410:
332:
233:
193:Florentine Renaissance
89:, Republic of Florence
2990:Painters from Tuscany
2980:Italian male painters
2933:Florence Charterhouse
2841:Carmignano Visitation
2809:Penitent Saint Jerome
2777:Adoration of the Magi
2705:Portrait of a Jeweler
2137:before December 1535
1790:Penitent Saint Jerome
1385:Adoration of the Magi
1295:San Michele Visdomini
1240:Pinacoteca comunale,
922:
845:
793:
739:Dead in Last Judgment
737:
727:
717:
710:Lost or damaged works
572:
481:, there is no actual
444:
404:
339:canvases (now in the
325:
280:, often supported by
221:Mariotto Albertinelli
213:
2761:Vertumnus and Pomona
2649:San Ruffillo Madonna
2308:Portrait of Pontormo
1989:J. Paul Getty Museum
1667:Certosa di Galluzzo
1652:Certosa di Galluzzo
1635:Certosa di Galluzzo
1628:Christ before Pilate
1587:Prayer in Gesthemane
1424:Study of Man's Head
1405:Vertumnus and Pomona
1306:Portrait of Musician
1232:Giovanni Maria Pichi
1230:(Also attributed to
1117:Francesco Bacchiacca
423:Carthusian monastery
407:Vertumnus and Pomona
391:Vertumnus and Pomona
187:shift from the calm
69:Republic of Florence
2908:(c. 1543–1544)
2889:Madonna of the Book
2745:Saint Anthony Abbot
2708:(c. 1517–1518)
1618:Certosa di Galluzo
1600:Certosa di Galluzzo
1487:Metropolitan Museum
1251:Portrait of Furrier
1060:Santa Maria Novella
984:, Brunswick, Maine
668:holds his mystical
553:Joseph of Arimathea
419:Certosa di Galluzzo
175:), was an Italian
172:[ponˈtormo]
3005:People from Empoli
2580:Pontormo. Pictures
2513:Walters Art Museum
2345:(Fresco cartoons)
2278:Capodimonte Museum
2222:Walters Art Museum
930:
915:Anthology of works
851:
742:
732:
722:
581:
450:
413:In 1522, when the
411:
333:
37:Illustration from
3015:Catholic painters
2957:
2956:
2769:Sacrificial Scene
2564:Giorgio Vasari's
2424:978-1-60606-589-1
2361:
2360:
2269:Sacrificial Scene
2035:
2034:
1454:
1453:
1324:St Anthony Abbott
1001:San Luca Chapel,
994:Holy Conversation
974:Apollo and Daphne
955:Leda and the Swan
460:in the church of
448:, 1525–1528
217:Leonardo da Vinci
181:Florentine School
132:
131:
3022:
2721:Pucci Altarpiece
2700:(1517, disputed)
2627:
2620:
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2604:
2603:
2592:Internet Archive
2571:
2529:Krystof, Doris.
2517:
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2465:Giorgio Vasari,
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2386:
2292:Pontormo's Diary
2184:
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2042:
2041:
2027:National Gallery
1904:Santa Felicita,
1881:Santa Felicita,
1722:, San Francisco
1677:Supper in Emmaus
1596:1523–1525
1591:Jacopo da Empoli
1568:Rosso Fiorentino
1549:Hermitage Museum
1489:, New York City
1461:
1460:
1286:Pucci Altarpiece
1139:National Gallery
1097:Andrea del Sarto
1076:1514–1516
937:
936:
889:Rosso Fiorentino
729:Study for Deluge
698:
695:
688:) and the later
687:
684:
671:Supper at Emmaus
649:still adorn the
405:From lunette of
341:National Gallery
261:
243:
229:Andrea del Sarto
219:, and then with
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82:
35:
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3010:Fresco painters
2960:
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2923:Boldrone Shrine
2911:
2873:Venus and Cupid
2713:Joseph in Egypt
2636:
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2550:
2526:
2524:Further reading
2521:
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2489:
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2397:
2396:. April 4, 2018
2388:
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2366:
2182:
2143:, Philadelphia
2114:Venus and Cupid
2085:Casa Buonarroti
2076:Noli me Tangere
2040:
1611:Walk to Calvary
1566:(Attributed to
1459:
1415:Poggio a Caiano
1207:Joseph in Egypt
1095:(attributed to
1058:Medici Chapel,
935:
917:
880:containing the
803:
762:Michelangelo's
712:
696:
685:
679:Joseph in Egypt
655:Agnolo Bronzino
635:Four Patriarchs
551:of Pontormo as
524:Michelangelo's
439:
421:, a cloistered
409:, 1520–21
378:Poggio a Caiano
350:Joseph in Egypt
328:Joseph in Egypt
274:
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225:Piero di Cosimo
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79:January 2, 1557
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2928:Capponi Chapel
2925:
2919:
2917:
2913:
2912:
2910:
2909:
2901:
2900:(c. 1541–1544)
2893:
2892:(c. 1540–1545)
2885:
2877:
2869:
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2860:(c. 1529–1536)
2853:
2852:(c. 1529–1530)
2845:
2844:(c. 1528–1530)
2837:
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2828:(c. 1527–1528)
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2797:
2796:(c. 1524–1529)
2789:
2788:(c. 1522–1523)
2781:
2780:(c. 1522–1523)
2773:
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2764:(c. 1519–1521)
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2732:(c. 1518–1519)
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2548:External links
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769:Sistine Chapel
711:
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666:Uffizi Gallery
631:God the Father
458:Capponi Chapel
438:
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386:classical myth
355:Giorgio Vasari
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83:(aged 62)
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63:Pontorme near
62:
57:Jacopo Carucci
56:
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47:, 1568 edition
45:Giorgio Vasari
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189:perspectival
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112:Notable work
81:(1557-01-02)
60:May 24, 1494
38:
18:
3000:1557 deaths
2995:1494 births
2481:, page 105.
2400:November 9,
2342:San Lorenzo
2324:St. Francis
2310:(Bronzino)
2262:, Florence
2215:(Painting)
2183: 1535
2125:, Florence
2087:, Florence
2013:, Florence
1908:, Florence
1783:, Florence
1765:, Florence
1589:(copies by
1579:, Florence
1529:, Florence
1396:, Florence
1354:, Florence
1317:, Florence
1297:, Florence
1242:Sansepolcro
1227:St. Quentin
1108:, Florence
1062:, Florence
1041:, Florence
966:, Florence
882:Evangelists
839:patronage.
697: 1531
686: 1515
651:pendentives
647:Evangelists
603:Virgin Mary
564:Virgin Mary
535:Lamentation
488:Lamentation
475:composition
295:This early
95:Nationality
2964:Categories
2446:Deposition
2376:References
2326:(Drawing)
2297:1554–1556
2256:1543–1545
2197:(Drawing)
2163:, Chicago
2119:1532–1534
2102:1532–1533
2007:1529–1530
1985:1528–1530
1965:1528–1529
1946:Church of
1943:1528–1529
1938:Visitation
1924:1527–1528
1901:1527–1528
1878:1526–1528
1873:Deposition
1854:1525–1526
1836:1527–1528
1817:1526–1528
1795:1526–1527
1759:1525–1526
1736:1525–1526
1696:(Drawing)
1664:1523–1525
1649:1523–1525
1645:Deposition
1632:1523–1525
1615:1523–1525
1573:1523–1525
1545:1522–1524
1483:1520–1530
1443:1540-1541
1426:(Drawing)
1410:1519–1521
1390:1519–1521
1348:1518–1519
1329:1518–1519
1311:1518–1519
1255:1517–1518
1212:1517–1518
1193:1516–1517
1155:1516–1517
1135:1516–1517
1102:1516–1517
1071:Visitation
960:1512–1513
905:Deposition
866:Old Master
620:Carmignano
616:Visitation
595:Deposition
585:Deposition
558:Deposition
539:Entombment
531:Deposition
520:Deposition
511:Entombment
456:-designed
425:where the
366:Visitation
345:Visitation
301:Carmignano
297:Visitation
266:Visitation
247:Visitation
162:or simply
2943:Mannerism
2884:(c. 1535)
2876:(c. 1533)
2772:(c. 1520)
2748:(c. 1519)
2740:(c. 1519)
2716:(c. 1518)
2692:(c. 1515)
2684:(c. 1515)
2676:(c. 1515)
2660:(c. 1514)
2652:(c. 1514)
2641:Paintings
2454:mannerist
2437:mannerist
2280:, Naples
2045:Painting
2029:, London
1763:Accademia
1464:Painting
1141:, London
1039:Accademia
940:Painting
805:Vasari's
645:with the
185:stylistic
177:Mannerist
127:Mannerism
2948:Bronzino
2634:Pontormo
2364:See also
2274:c. 1545
2218:c. 1539
1971:, Paris
1751:Boldrone
1523:c. 1522
1501:c. 1522
1016:c. 1514
901:El Greco
874:Bronzino
681:series (
643:roundels
579:, fresco
382:pastoral
359:Bronzino
278:Florence
164:Pontormo
160:Pontormo
139:Carrucci
123:Movement
106:Painting
87:Florence
25:Pontormo
2950:(pupil)
2916:Related
2442:maniera
2288:My Book
1803:Hanover
897:Baroque
891:and of
833:bottega
783:In his
767:in the
599:Gabriel
396:lunette
317:drapery
98:Italian
2868:(1530)
2836:(1528)
2820:(1526)
2724:(1518)
2537:
2422:
1509:Venice
1375:Empoli
864:by an
837:Medici
789:Vasari
627:cupola
506:Heaven
502:angels
497:Christ
415:plague
370:fresco
337:Joseph
309:Virgin
282:Medici
209:Vasari
205:Empoli
152:Jacopo
65:Empoli
2450:Pietà
2200:1535
2081:1531
2065:1531
2054:Link
2051:Site
2048:Date
2023:1530
1777:1526
1741:Lucca
1716:1525
1699:1525
1681:1525
1473:Link
1470:Site
1467:Date
1370:1519
1291:1518
1272:1518
1237:1517
1174:1515
1055:1515
1035:1514
998:1514
978:1513
949:Link
946:Site
943:Date
878:tondi
544:Pietà
526:Pietà
483:cross
427:monks
394:in a
374:villa
2590:(at
2566:Vita
2535:ISBN
2420:ISBN
2402:2018
808:Life
639:dome
633:and
601:and
573:The
537:and
516:tomb
335:The
311:and
168:IPA:
143:IPA:
76:Died
53:Born
491:or
388:of
376:at
137:or
43:by
2966::
2511:.
2392:.
2294:)
2180:c.
1860:,
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1593:)
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911:.
868:.
816:,
694:c.
683:c.
398:.
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156:da
67:,
2626:e
2619:t
2612:v
2594:)
2515:.
2505:"
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2290:(
1224:*
692:(
166:(
154:(
141:(
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