Download Bronzino's Chapel of Eleonora in the Palazzo Vecchio by Janet Cox-Rearick PDF

April 5, 2017 | Individual Artists | By admin | 0 Comments

By Janet Cox-Rearick

Do the sacred of a Florentine Renaissance chapel--saints, symbols, and scriptural stories--hold own and political meanings? Cox-Rearick's ground-breaking e-book explores the message hidden within the frescoes and altar panels of the Chapel of Eleonora di Toledo, painted within the early 1540s by means of Agnolo Bronzino for the Spanish-born spouse of Duke Cosimo I de Medici. Bronzino, then the executive painter to the Medici courtroom, was once principally accountable for the discovery in Florence of the hugely self-conscious, stylish Maniera kind. Cox-Rearick interweaves her account of the Medici biography with an exam of Bronzino's fee within the broader context of his oeuvre.Cox-Rearick finds the Chapel of Eleonora as an in detail devised ornamental software that transmits messages approximately its consumers and Medici rule. certain colour pictures of the newly restored artwork wonderfully record this early travel de strength of an important artist whose works are nonetheless rather unexamined.

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Or was it in some sense a wedding gift from the duke to his bride of one year?  Who, in short, were the ideators of the Chapel of Eleonora, and who constituted the audience for Bronzino's paintings there?  And Part 4 places the paintings in cultural context of Duke Cosimo's court and his highly politicized art, revealing the chapel decoration to be a celebration of Cosimo's rule and of the Medici dynasty he had established with Eleonora di Toledo. Page 20 Prima di tutte [le belle donne] a voi saggia Leonora Di questa Alma Città Donna et Regina Sposa Gentil di quel che i Toschi honora.

6 The conditions of the marriage were negotiated, Cosimo making a good bargain with Don Pedro,7 and the marriage (by proxy) took place on 29 March 1539 in Naples, with Jacopo de' Medici and Luigi Ridolfi, the representatives of Duke Figure 17 Genealogy of the Medici family. 9 The taste for lavish display was later to affect Eleonora's court life, mode of dress, and patronage of art—and, by extension, those of Cosimo as well. tia in Firenze, la quale piaccia a Dio sia in buon punto et honore et servitio suo et contentamento di tutti noi.

Lorenzo.  Palazzo Vecchio, Sala de' Dugento.  Vienna, Albertina.  Loggia dei Lanzi.  112).  Palazzo Vecchio, Sala di Cosimo.  Furthermore, the most prominent artists in the work (the three in classical garb who are closest to the duke— Battista del Tasso, Tribolo, and Giovanni Battista da San Marino) were all dead; Vasari's real rivals, such as Bandinelli, Cellini, and Bartolommeo Ammannati, all in contemporary dress, are crowded uncomfortably in the background of the tondo. The activities of the duke's private secretary, later majordomo, Pierfrancesco Riccio (1499–1564), encouraged competition among the artists in Cosimo's service.

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