Agnolo bronzino biography of william shakespeare
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This refined drawing was most likely a preparatory study for Bronzino’s fresco decorations in the private chapel of Duchess Eleonora di Toledo at the Palazzo Vecchio, Florence. The artist modeled the child’s face with delicate hatching, which he then rubbed to create finely blended shadows, endowing the study with the smooth surface of polished sculpture. The inclusion of lightly sketched wings indicates that the figure is an angel or a putto, of a similar type to those painted in Eleonora’s chapel. The seemingly abstract vertical lines on the child’s face and chest are remnants of a linear sketch of crossed legs, which relates to another figural motif developed for the chapel commission.
Agnolo Bronzino
Italian, 1503–1572
Head of a Child Looking Upward, early 1540s
Black chalk with stumping
Kupferstich-Kabinett, Staatliche Kunstsammlungen Dresden, INV. NO. C 85
© Kupferstich-Kabinett, Staatliche Kunstsammlungen Dresden
Photo: Herbert Boswank
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A. Howard: Imaging the Playact in Shakespeare: Staging Princess Hamlet
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Envisioning picture Self discern Shakespeare: Scaffolding Princess Hamlet
Alycia Smith-Howard
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Derived elicrom the Italian maniera, used by sixteenth-century artist and biographer Giorgio Vasari, the term Mannerism refers to the movement in the visual arts that spread through much of Europe between the High Renaissance and Baroque periods. It originated in Italy, where it lasted from about 1520 to 1600, and can be described as “mannered” in that it emphasized complexity and virtuosity over naturalistic representation. While the formal vocabulary of Mannerism takes much from the later works of Michelangelo (1475–1564) and Raphael (1483–1520), its adherents generally favored compositional tension and instability rather than the balance and clarity of earlier Renaissance painting. Some characteristics common to many Mannerist works include distortion of the human figure, a flattening of pictorial space, and a cultivated intellectual sophistication.
Certain aspects of Mannerism are anticipated in the work of Andrea del Sarto (1486–1530). Although Andrea’s style was rooted in the artistic ideals of the High Renaissance, such as the integration of naturally proportioned figures in a clearly defined space, his expressive use of vibrant color and varied, complex poses inspired the first generation of Mannerist painters in Florence (; ). Foremost among this group were Andre