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          Agnolo Bronzino, 1503 – 1572

          Agnolo Bronzinos malerier: De 100 mest kjente verkene, rangert

          Agnolo Bronzinos mest kjente maleri er Venus, Cupid og Tid (Allegori for Begjær) (1540), i National Gallery, London. Sammen med Portrait of Eleonora da Toledo (1555) og Venus, Cupido and Satyr utgjør de de tre verkene som alle kjenner igjen. Vår katalog inneholder 189 verk av Agnolo Bronzino; de 100 nedenfor er de som verden ser mest på, hver med årstall, museet som huser verket og hvorfor det er betydningsfullt.

          Rangert etter vår popularitetsscore, som kombinerer søk, besøk og bestillinger for hvert verk. Oppdatert October 2026. Hvert mesterverk på denne siden kan bestilles som en håndmalt oljereproduksjon av museumskvalitet eller som et kunsttrykk, i den størrelsen du velger.

          Portrett av Agnolo Bronzino
          Agnolo Bronzino · 1503 – 1572
          Født · død
          1503 – 1572, Firenze
          Bevegelse
          Manierisme
          Verker i vår katalog
          189
          Mest kjente
          Venus, Cupid og Tid (Allegori for Begjær) (1540)
          Flest verk hos
          Galleria degli Uffizi

          De 10 mest kjente maleriene til Agnolo Bronzino

          Venus, Cupid og Tid (Allegori for Begjær) (1540) av Agnolo Bronzino
          1

          Venus, Cupid og Tid (Allegori for Begjær)

          1540 · Olje på lerret · National Gallery, London

          Bronzino’s Alluring Dance of Desire: “Venus, Cupid og Tid” Agnolo Bronzinos “Venus, Cupid og Tid” – eller “Allegori for Lyst” som den også kalles – er et verk som umiddelbart fanger blikket. Datoert til 1540, representerer dette maleriet en fascinerende blanding av mytologi, allegori og kunstnerisk mesterskap, og gir et innblikk i den komplekse verdenen til det florentinske hoffet under Medici-familien. Det er ikke bare et bilde; det er en…

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          Portrait of Eleonora da Toledo (1555) av Agnolo Bronzino
          2

          Portrait of Eleonora da Toledo

          1555 · Oil On Panel

          To gaze upon Agnolo Bronzino's Portrait of Eleonora da Toledo is to step directly into the rarefied atmosphere of High Renaissance Florence. This painting, executed in 1555, transcends a mere likeness; it is a carefully constructed monument to status, power, and exquisite refinement. The subject, Eleonora da Toledo, radiates an almost palpable aura of aristocratic dignity. Bronzino captures her not just as a woman, but as a symbol of Medici…

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          Venus, Cupido and Satyr av Agnolo Bronzino
          3

          Venus, Cupido and Satyr

          Oil

          A pale, reclining figure occupies the center of the frame, her skin possessing the cool, polished sheen of marble. This is Venus, the goddess of love, draped in a way that emphasizes the tension between soft flesh and the hard edges of the composition. Beside her, Cupid clings to her form, a small, fleshy presence that embodies the sudden, sharp sting of passion. Their limbs are elongated, stretching toward one…

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          Portrait of Andrea Doria as Neptune (1550) av Agnolo Bronzino
          4

          Portrait of Andrea Doria as Neptune

          1550 · Oil On Canvas · Pinacoteca di Brera, Milano

          In the grand theater of the Italian Mannerist period, few images command the eye with such authoritative grace as Agnolo Bronzino’s Portrait of Andrea Doria as Neptune. This is not merely a portrait of a man, but a profound exercise in political allegory and divine projection. The subject, the legendary Genoese admiral Andrea Doria, is stripped of the heavy silks and velvet doublets typical of sixteenth-century aristocratic portraiture. Instead, Bronzino…

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          St. John the Baptist (1542) av Agnolo Bronzino
          5

          St. John the Baptist

          1542 · Oil On Panel · J. Paul Getty Museum, Los Angeles

          The figure of St. John the Baptist emerges from the shadows, rendered with a muscular intensity by the Florentine master Bronzino. This depiction captures the patron saint of Florence in a moment of profound spiritual tension. Created about 1542 - 1545, the work possesses a striking verticality that speaks to its original purpose. It does not exist in isolation but remains a fragment of a larger sacred narrative, having once…

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          Deposition (1565) av Agnolo Bronzino
          6

          Deposition

          1565 · Oil On Canvas · Galleria dell'Accademia di Firenze, Firenze

          “Deposition,” painted in 1565 by the Florentine master Agnolo Bronzino, is not merely a religious scene; it's a meticulously crafted tableau of restrained emotion and profound psychological depth. Commissioned for the Observant Monastery in Cosmopoli, this work transcends simple narrative to become a meditation on grief, loss, and the delicate balance between earthly sorrow and divine grace. Bronzino, renowned for his “reserved elegance,” achieved this through an almost unnervingly controlled…

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          Portrait of a Young Man (1555) av Agnolo Bronzino
          7

          Portrait of a Young Man

          1555 · Oil On Canvas · Nelson-Atkins Museum of Art, Kansas City

          To gaze upon this portrait is to step directly into the rarefied atmosphere of mid-sixteenth-century Florence, a world governed by the subtle power plays and exquisite tastes of the Medici court. Agnolo Bronzino, the master chronicler of such elite circles, captured not merely a likeness, but an entire social stratum. The sitter, though anonymous to us today, embodies the controlled elegance expected of those who moved within the gilded cage…

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          Cosimo de Medici in Armour (1545) av Agnolo Bronzino
          8

          Cosimo de Medici in Armour

          1545 · Oil On Panel · Thyssen-Bornemisza-museet, Madrid

          The gaze of the Grand Duke of Tuscany, Cosimo I de' Medici, meets the viewer through the work titled Cosimo de Medici in Armour. Created by the Florentine artist Bronzino, this portrait captures the ruler in a moment of poised authority. The image emerges from the mid-16th century, dated about 1545, and presents a commanding presence through its structured composition. It exists as a significant version of the painting held…

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          Portrait of Cosimo I de' Medici as Orpheus (1537) av Agnolo Bronzino
          9

          Portrait of Cosimo I de' Medici as Orpheus

          1537 · Oil On Panel · Philadelphia Museum of Art, Philadelphia

          In this portrait, we encounter Cosimo I de' Medici, not merely as a ruler, but as the mythological musician Orpheus. He is positioned in a three-quarter view from behind, turning his gaze back toward us with a sense of psychological alertness. His body, rendered with a polished, marble-like texture, possesses an idealized beauty that speaks to the High Mannerist style. A single splash of crimson red drapery provides a sharp…

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          Portrait of Eleonora of Toledo and Her Son, Francesco de'Medici (1549) av Agnolo Bronzino
          10

          Portrait of Eleonora of Toledo and Her Son, Francesco de'Medici

          1549 · Oil On Panel · Cincinnati Art Museum, Cincinnati

          In this vertical half-length portrait, we encounter the Duchess of Florence, Eleonora of Toledo, and her son, Francesco de' Medici. The composition is defined by a controlled, almost sculptural stillness. Eleonora stands slightly behind the young boy, her hand resting upon his shoulder in a gesture that is both protective and formal. There is a certain aristocratic detachment in their expressions, a cool composure that characterizes the Florentine Mannerist style.…

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          Agnolo Bronzino, malerier 11 til 100

          Portrait of Eleonora di Toledo, Bust (1560) av Agnolo Bronzino
          #11

          Portrait of Eleonora di Toledo, Bust

          1560 · Staatliche Kunstsammlungen Dresden

          This oil on panel portrait presents a three-quarter view of Eleonora di Toledo, focusing on the head, shoulders, and upper chest. The subject is positioned against a neutral…

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          Eleonora di Toledo (1560) av Agnolo Bronzino
          #12

          Eleonora di Toledo

          1560 · National Gallery of Art

          A woman stands in a red dress, her hand resting upon her hip with a quiet, unyielding confidence. The fabric of her gown is a heavy, structured thing,…

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          Venus cupid time av Agnolo Bronzino
          #13

          Venus cupid time

          National Gallery

          The painting depicts a bedroom setting centered on two naked figures, Venus and Cupid. One woman lies down while another stands over her; they are holding hands and…

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          Pierantonio Bandini (1555) av Agnolo Bronzino
          #14

          Pierantonio Bandini

          1555 · National Gallery of Canada

          Agnolo Bronzino’s “Portrait of Pierantonio Bandini,” painted circa 1550-1555, is not merely a likeness; it's an exquisitely crafted distillation of Renaissance ideals – a study in dignified composure…

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          Holy Family (1540) av Agnolo Bronzino
          #16

          Holy Family

          1540 · Galleria degli Uffizi

          Agnolo Bronzino's "Holy Family," painted around 1540, isn’t merely a depiction of a biblical scene; it’s a carefully constructed tableau of serenity and profound familial love. Emerging from…

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          Eleonora di Toledo (1543) av Agnolo Bronzino
          #17

          Eleonora di Toledo

          1543 · Nasjonalgalleri Praha

          In the quiet corridors of the Národní Galerie in Prague, there exists a window into the opulent heart of the sixteenth century. Agnolo Bronzino’s Eleonora di Toledo is…

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          Ugolino Martelli (1535) av Agnolo Bronzino
          #20

          Ugolino Martelli

          1535

          To stand before Agnolo Bronzino's Ugolino Martelli is to encounter the very essence of High Renaissance self-possession. Painted in 1535, this portrait transcends a mere likeness; it is…

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          Cosimo I de' Medici in Armour (1550) av Agnolo Bronzino
          #21

          Cosimo I de' Medici in Armour

          1550 · Museo degli Argenti

          In the heart of the Florentine Mannerist tradition, Agnolo Bronzino’s Cosimo I de' Medici in Armour emerges as more than a mere portrait; it is a profound psychological…

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          Pope Leo X (1555) av Agnolo Bronzino
          #22

          Pope Leo X

          1555 · Galleria degli Uffizi

          To gaze upon this portrait of Pope Leo X is to encounter a moment suspended in the opulent grandeur of the Italian Renaissance. Agnolo Bronzino, master chronicler of…

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          Saint Sebastian (1533) av Agnolo Bronzino
          #23

          Saint Sebastian

          1533 · The Salvador Dalí Museum

          To stand before Agnolo Bronzino's depiction of Saint Sebastian is to encounter an embodiment of refined restraint—a hallmark of the High Renaissance transitioning into the sophisticated drama of…

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          Venus, Cupid and Jealousy (1550) av Agnolo Bronzino
          #24

          Venus, Cupid and Jealousy

          1550 · Szépművészeti Múzeum

          The world of Renaissance Florence was a crucible of artistic innovation, yet within its vibrant heart resided a figure renowned for his profound restraint – Agnolo di Cosimo,…

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          Venus, Cupid and Time (detail) (1540) av Agnolo Bronzino
          #26

          Venus, Cupid and Time (detail)

          1540 · National Gallery

          Agnolo Bronzino's "Venus, Cupid, and Time," painted in 1540, isn’t merely a depiction of mythological figures; it’s an exquisitely crafted allegory—a visual poem brimming with ambiguity and profound…

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          Don Garcia de' Medici (1550) av Agnolo Bronzino
          #27

          Don Garcia de' Medici

          1550 · Museo del Prado

          To gaze upon Agnolo Bronzino’s portrait, Don Garcia de' Medici, is to encounter an exquisite moment suspended in the amber glow of the Italian Renaissance. This depiction of…

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          Eleonora da Toledo (1543) av Agnolo Bronzino
          #28

          Eleonora da Toledo

          1543 · National Gallery Prague

          To gaze upon Agnolo Bronzino's depiction of Eleonora da Toledo is to encounter a moment suspended in the rarefied air of Renaissance aristocracy. This portrait, executed in 1543,…

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          Portrait of Eleanora di Toledo (1560) av Agnolo Bronzino
          #29

          Portrait of Eleanora di Toledo

          1560 · National Gallery of Art

          In the heart of the Italian Renaissance, where power was as much about visual splendor as it was about political maneuvering, Agnolo Bronzino captured a moment of eternal…

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          Miracle of the Brazen Serpent (1542) av Agnolo Bronzino
          #30

          Miracle of the Brazen Serpent

          1542 · Palazzo Vecchio

          In the heart of Florence’s Palazzo Vecchio, tucked within the sacred stillness of the Cappella di Eleonora, resides one of the most arresting spectacles of the Mannerist era:…

          Portrait of a Young Man (1540) av Agnolo Bronzino
          #32

          Portrait of a Young Man

          1540 · Metropolitan Museum of Art

          Agnolo Bronzino's “Portrait of a Young Man,” painted circa 1540, stands as an emblem of Florentine Mannerism—a stylistic movement that prioritized elegance and restraint over the exuberant naturalism…

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          Martyrdom of St Lawrence (1569) av Agnolo Bronzino
          #33

          Martyrdom of St Lawrence

          1569 · Basilica di San Lorenzo

          Agnolo Bronzino’s “Martyrdom of St. Lawrence,” painted in 1569, isn't merely a depiction of a historical event; it’s a profound meditation on faith, suffering, and the enduring spirit…

          Gathering of the Manna (1543) av Agnolo Bronzino
          #37

          Gathering of the Manna

          1543 · Palazzo Vecchio

          Agnolo Bronzino’s “Gathering of the Manna,” a monumental fresco within the Cappella di Eleonora in Florence’s Palazzo Vecchio, isn’t merely a depiction of a biblical event; it's a…

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          Galatea and Pygmalion (1530) av Agnolo Bronzino
          #38

          Galatea and Pygmalion

          1530

          A sculptor’s hands once held a dream of stone. In this work from c.1530, the boundary between the inanimate and the living dissolves under a soft, transformative light.…

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          Portrait of Cosimo I de' Medici (1545) av Agnolo Bronzino
          #40

          Portrait of Cosimo I de' Medici

          1545 · Galleria degli Uffizi

          A Portrait of Regal Dignity: Agnolo Bronzino’s Emblematic Representation of Cosimo I Agnolo di Cosimo, universally recognized as Bronzino, stands as a cornerstone of Mannerist art—a movement that…

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          Costanza da Sommaia (1540) av Agnolo Bronzino
          #41

          Costanza da Sommaia

          1540 · Detroit Institute of Arts

          A young woman emerges from a deep, blue shadow, her presence defined by a stillness that feels almost sculptural. She is turned in a three-quarter view, her skin…

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          Crossing of the Red Sea (1542) av Agnolo Bronzino
          #42

          Crossing of the Red Sea

          1542 · Palazzo Vecchio

          The fresco titled Crossing of the Red Sea was executed by the Florentine artist Agnolo Bronzino. This work, completed around 1542, utilizes the fresco technique to depict a…

          St John the Baptist (1550) av Agnolo Bronzino
          #43

          St John the Baptist

          1550 · Galleria Borghese

          Agnolo Bronzino's "St. John the Baptist," painted in 1550 and currently residing within the Galleria Borghese in Rome, is a masterful embodiment of Mannerist artistry—a period characterized by…

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          Portrait of a Lady in Red (detail) (1530) av Agnolo Bronzino
          #44

          Portrait of a Lady in Red (detail)

          1530 · Städel Museum

          The year is 1530, and Florence pulses with the vibrant energy of the High Renaissance. Amidst this flourishing artistic landscape emerges Agnolo Bronzino – not merely a painter,…

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          Portrait of a boy (1540) av Agnolo Bronzino
          #45

          Portrait of a boy

          1540 · Bode Museum

          This painting, titled Portrait of a boy, is a work by the Florentine artist Bronzino. It belongs to the genre of portraiture, capturing a singular youthful figure with…

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          Don Giovanni de’Medici (1551) av Agnolo Bronzino
          #49

          Don Giovanni de’Medici

          1551 · Toledo Museum of Art

          This portrait of Don Giovanni de’Medici offers a quiet glimpse into the lineage of the Medici family. Executed by the Florentine master Bronzino, the work captures a young…

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          Portrait of an Elderly Lady (1540) av Agnolo Bronzino
          #50

          Portrait of an Elderly Lady

          1540 · Fine Arts Museums of San Francisco

          The artwork is titled Portrait of an Elderly Lady. It was executed by the artist Bronzino, who was born in Florence, Italy, in 1503. This oil on poplar…

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          Portrait of a Young Man (1550) av Agnolo Bronzino
          #52

          Portrait of a Young Man

          1550 · National Gallery

          A young man sits with a stillness that feels carved from stone. His face, smooth and pale as fine porcelain, meets the viewer with a gaze that is…

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          View of the Chapel of Eleonora da Toledo (1440) av Agnolo Bronzino
          #64

          View of the Chapel of Eleonora da Toledo

          1440 · Palazzo Vecchio

          The painting presents a view of a chapel featuring a fresco that depicts the life of Christ. Within this sacred setting, the scene is populated by numerous figures,…

          Portrait of Bartolomeo Panciatichi (1540) av Agnolo Bronzino
          #73

          Portrait of Bartolomeo Panciatichi

          1540 · Galleria degli Uffizi

          Agnolo Bronzino’s “Portrait of Bartolomeo Panciatichi,” painted in 1540, is more than just a likeness; it's a meticulously crafted distillation of Renaissance ideals – a testament to the…

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          Moses strikes water from the wall rocks (1544) av Agnolo Bronzino
          #75

          Moses strikes water from the wall rocks

          1544

          The air feels heavy with anticipation as Moses raises his staff against the rugged, unyielding face of the rock. In this mid-sixteenth century fresco, a sudden, life-giving force…

          Altarpiece (1540) av Agnolo Bronzino
          #76

          Altarpiece

          1540 · Palazzo Vecchio

          The year is 1540, and Florence pulses with the ambition of the Medici court. Within the private chapel of Eleonora di Toledo, Duchess of Florence, a masterpiece emerges…

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          Venus, Cupid and Envy (1548) av Agnolo Bronzino
          #78

          Venus, Cupid and Envy

          1548 · Szépművészeti Múzeum

          Painted in 1548 by the Florentine master Agnolo Bronzino, *Venus, Cupid and Envy* is a captivating embodiment of Mannerist aesthetics – a style characterized by its deliberate artifice,…

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          Portrait of Pope Clement VII (1564) av Agnolo Bronzino
          #81

          Portrait of Pope Clement VII

          1564 · Galleria degli Uffizi

          A Portrait of Dignified Majesty: Agnolo Bronzino’s Pope Clement VII The Portrait of Pope Clement VII, executed by Agnolo Bronzino in 1564, stands as a cornerstone of Mannerist…

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          untitled (4490) (1532) av Agnolo Bronzino
          #82

          untitled (4490)

          1532

          In the quiet, commanding presence of Agnolo Bronzino’s "untitled (4490)", we are transported back to the height of the Italian Renaissance, a period where portraiture served as both…

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          The Holy Family (1545) av Agnolo Bronzino
          #83

          The Holy Family

          1545

          The Holy Family by Agnolo Bronzino is a renowned oil painting that showcases the artist's skill in capturing dramatic scenes with incredible detail. Created in 1545, this tempera…

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          Lucrezia Panciatichi (1540) av Agnolo Bronzino
          #85

          Lucrezia Panciatichi

          1540

          In the grand tapestry of the Italian Renaissance, few portraits capture the poised sophistication of the Mannerist era as exquisitely as Agnolo Bronzino’s Lucrezia Panciatichi. Painted around 1540,…

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          Portrait of Guidubaldo della Rovere (1532) av Agnolo Bronzino
          #99

          Portrait of Guidubaldo della Rovere

          1532 · Galleria Palatina

          In the quiet, commanding presence of Agnolo Bronzino’s Portrait of Guidubaldo della Rovere, we encounter the very essence of the High Renaissance transitioning into the sophisticated artifice of…

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          Agnolo Bronzinos malerier etter periode

          Mature Period

          1530 – 1569 · 56 verk i denne listen
          Portrait of Eleonora da Toledo (1555), Agnolo Bronzino #2 Portrait of Eleonora da Toledo 1555 Venus, Cupido and Satyr, Agnolo Bronzino #3 Venus, Cupido and Satyr Portrait of Andrea Doria as Neptune (1550), Agnolo Bronzino #4 Portrait of Andrea Doria as Neptune 1550 · Pinacoteca di Brera St. John the Baptist (1542), Agnolo Bronzino #5 St. John the Baptist 1542 · J. Paul Getty Museum Portrait of a Young Man (1555), Agnolo Bronzino #7 Portrait of a Young Man 1555 · Nelson-Atkins Museum of Art

          Mature Style

          1539 – 1555 · 5 verk i denne listen
          Portrait of Lucrezia Panciatichi (1540), Agnolo Bronzino #18 Portrait of Lucrezia Panciatichi 1540 · Galleria degli Uffizi Pope Leo X (1555), Agnolo Bronzino #22 Pope Leo X 1555 · Galleria degli Uffizi Eleonora of Toledo with her son Giovanni de' Medici (1544), Agnolo Bronzino #25 Eleonora of Toledo with her son Giovanni de' Medici 1544 · Galleria degli Uffizi Portrait of Ludovico Capponi (1551), Agnolo Bronzino #39 Portrait of Ludovico Capponi 1551 · The Frick Collection Adoration of the Shepherds (detail) (11) (1539), Agnolo Bronzino #93 Adoration of the Shepherds (detail) (11) 1539 · Szépművészeti Múzeum

          Motivene Agnolo Bronzino malte mest av

          De fire motivene som forekommer hyppigst blant disse mesterverkene, med det fremste eksemplet på hvert av dem.

          Renaissance 35 verk

          Venus, Cupid og Tid (Allegori for Begjær) (1540), Agnolo Bronzino #1 Venus, Cupid og Tid (Allegori for Begjær) 1540 · National Gallery Portrait of Andrea Doria as Neptune (1550), Agnolo Bronzino #4 Portrait of Andrea Doria as Neptune 1550 · Pinacoteca di Brera Portrait of a Young Man (1555), Agnolo Bronzino #7 Portrait of a Young Man 1555 · Nelson-Atkins Museum of Art Pierantonio Bandini (1555), Agnolo Bronzino #14 Pierantonio Bandini 1555 · National Gallery of Canada

          Portrait 16 verk

          Portrait of Eleonora da Toledo (1555), Agnolo Bronzino #2 Portrait of Eleonora da Toledo 1555 Cosimo de Medici in Armour (1545), Agnolo Bronzino #8 Cosimo de Medici in Armour 1545 · Thyssen-Bornemisza-museet Allegorical Portrait of Dante (1530), Agnolo Bronzino #19 Allegorical Portrait of Dante 1530 Ugolino Martelli (1535), Agnolo Bronzino #20 Ugolino Martelli 1535

          Woman 11 verk

          Venus, Cupido and Satyr, Agnolo Bronzino #3 Venus, Cupido and Satyr Portrait of Eleonora of Toledo and Her Son, Francesco de'Medici (1549), Agnolo Bronzino #10 Portrait of Eleonora of Toledo and Her Son, Francesco de'Medici 1549 · Cincinnati Art Museum Portrait of Eleonora di Toledo, Bust (1560), Agnolo Bronzino #11 Portrait of Eleonora di Toledo, Bust 1560 · Staatliche Kunstsammlungen Dresden Eleonora di Toledo (1560), Agnolo Bronzino #12 Eleonora di Toledo 1560 · National Gallery of Art

          Allegory 10 verk

          Venus, Cupid and Jealousy (1550), Agnolo Bronzino #24 Venus, Cupid and Jealousy 1550 · Szépművészeti Múzeum Venus, Cupid and Time (detail) (1540), Agnolo Bronzino #26 Venus, Cupid and Time (detail) 1540 · National Gallery Miracle of the Brazen Serpent (1542), Agnolo Bronzino #30 Miracle of the Brazen Serpent 1542 · Palazzo Vecchio The Miracle of the Spring (1543), Agnolo Bronzino #36 The Miracle of the Spring 1543 · Palazzo Vecchio

          Hvor du kan se maleriene til Agnolo Bronzino

          De 8 museene som innehar flest av maleriene på denne siden.

          Museum By Verker av Agnolo Bronzino Malerier fra denne listen
          Galleria degli Uffizi, FirenzeGalleria degli Uffizi Firenze 18 Holy Family, Portrait of Lucrezia Panciatichi, Pope Leo X
          Palazzo Vecchio, FirenzePalazzo Vecchio Firenze 11 Miracle of the Brazen Serpent, The Miracle of the Spring, Gathering of the Manna
          Szépművészeti Múzeum, BudapestSzépművészeti Múzeum Budapest 8 Venus, Cupid and Jealousy, Adoration of the Shepherds, Venus, Cupid and Envy
          National Gallery, LondonNational Gallery London 5 Venus, Cupid og Tid (Allegori for Begjær), Venus cupid time, Venus, Cupid and Time (detail)
          National Gallery of Art, WashingtonNational Gallery of Art Washington 4 Eleonora di Toledo, Portrait of Eleanora di Toledo, A Young Woman and Her Little Boy
          Detroit Institute of Arts, DetroitDetroit Institute of Arts Detroit 2 Costanza da Sommaia, Madonna and Child with Saint John the Baptist
          Walters Art Museum, BaltimoreWalters Art Museum Baltimore 2 The Feast Given by Joseph for His Brothers, Portrait of a Baby Boy
          Royal Collection, LondonRoyal Collection London 2 Portrait of a Lady in Green, Portrait of a Lady in Green

          Agnolo Bronzinos mest kjente maleri fra hvert tiår

          1. 1520s
            Virgin and Child with the Young Saint John the Baptist (1528) av Agnolo Bronzino
            #55 av 100

            Virgin and Child with the Young Saint John the Baptist

            Alder 17 – 26 · Art Institute of Chicago

            In this Mannerist oil painting, three figures occupy a vertical, tightly cropped arrangement against a dark, near-black background. The Virgin Mary is positioned centrally, her form defined by…

          2. 1530s
            Portrait of Cosimo I de' Medici as Orpheus (1537) av Agnolo Bronzino
            Rangering 9 av 100

            Portrait of Cosimo I de' Medici as Orpheus

            Alder 27 – 36 · Philadelphia Museum of Art

            In this portrait, we encounter Cosimo I de' Medici, not merely as a ruler, but as the mythological musician Orpheus. He is positioned in a three-quarter view from…

          3. 1540s
            Venus, Cupid og Tid (Allegori for Begjær) (1540) av Agnolo Bronzino
            #1 av 100

            Venus, Cupid og Tid (Allegori for Begjær)

            Alder 37 – 46 · National Gallery

            Bronzino’s Alluring Dance of Desire: “Venus, Cupid og Tid” Agnolo Bronzinos “Venus, Cupid og Tid” – eller “Allegori for Lyst” som den også kalles – er et verk…

          4. 1550s
            Portrait of Eleonora da Toledo (1555) av Agnolo Bronzino
            Nr. 2 av 100

            Portrait of Eleonora da Toledo

            Alder 47 – 56

            To gaze upon Agnolo Bronzino's Portrait of Eleonora da Toledo is to step directly into the rarefied atmosphere of High Renaissance Florence. This painting, executed in 1555, transcends…

          5. 1560s
            Deposition (1565) av Agnolo Bronzino
            #6 av 100

            Deposition

            Alder 57 – 66 · Galleria dell'Accademia di Firenze

            “Deposition,” painted in 1565 by the Florentine master Agnolo Bronzino, is not merely a religious scene; it's a meticulously crafted tableau of restrained emotion and profound psychological depth.…

          Spørsmål om Agnolo Bronzinos malerier

          Hva er det mest kjente maleriet til Agnolo Bronzino?Vis svaret

          Venus, Cupid og Tid (Allegori for Begjær) (1540), National Gallery, London. Deretter følger Portrait of Eleonora da Toledo (1555) og Venus, Cupido and Satyr.

          Hvor gammel var Agnolo Bronzino da Venus, Cupid og Tid (Allegori for Begjær) ble malt?Vis svaret

          37 år gammel: Venus, Cupid og Tid (Allegori for Begjær) er fra 1540, og Agnolo Bronzino ble født i 1503.

          Hva er de 10 viktigste maleriene til Agnolo Bronzino?Vis svaret

          Venus, Cupid og Tid (Allegori for Begjær), Portrait of Eleonora da Toledo, Venus, Cupido and Satyr, Portrait of Andrea Doria as Neptune, St. John the Baptist, Deposition, Portrait of a Young Man, Cosimo de Medici in Armour, Portrait of Cosimo I de' Medici as Orpheus og Portrait of Eleonora of Toledo and Her Son, Francesco de'Medici. Rangeringen ovenfor viser årstallet og museet for hvert av dem.

          Hvor mange malerier har Agnolo Bronzino laget?Vis svaret

          Vår katalog inneholder 189 verk av Agnolo Bronzino, datert fra 1525 til 1569.

          Hvor er de mest kjente maleriene til Agnolo Bronzino?Vis svaret

          De fleste av dem befinner seg i Galleria degli Uffizi (Firenze), Palazzo Vecchio (Firenze) og Szépművészeti Múzeum (Budapest). Tabellen ovenfor lister opp museene ett etter ett.

          Når malte Agnolo Bronzino sine mest kjente verk?Vis svaret

          I 1540s: 36 av de 100 verkene på denne siden er fra denne perioden, inkludert Venus, Cupid og Tid (Allegori for Begjær).

          Hva er Agnolo Bronzinos tidligste og nyeste berømte malerier?Vis svaret

          Det eldste på denne siden er St Matthew (1525), det nyeste Martyrdom of St Lawrence (1569).

          Hva malte Agnolo Bronzino oftest?Vis svaret

          Renaissance (35), Portrait (16) og Woman (11), blant de 100 verkene på denne siden.

          Hvilket medium brukte Agnolo Bronzino mest?Vis svaret

          Oil On Panel: 25 av 100 verk på denne siden.

          Hvilken kunstretning tilhører Agnolo Bronzino?Vis svaret

          Manierisme, som maleriene på denne siden viser.

          Hvilke malerier av Agnolo Bronzino kan jeg se på Galleria degli Uffizi?Vis svaret

          Holy Family, Portrait of Lucrezia Panciatichi og Pope Leo X er blant de 8 verkene på denne siden som er i Galleria degli Uffizi, Firenze sin samling.

          Kan jeg kjøpe en reproduksjon av et maleri av Agnolo Bronzino?Vis svaret

          Ja. Hvert maleri på denne siden kan bestilles som en håndmalt oljereproduksjon av museumskvalitet eller som et kunsttrykk i ønsket størrelse, direkte fra maleriets egen side.

          Om Agnolo Bronzino

          Agnolo Bronzino: The Sculptor's Touch in Florentine Mannerism

          Agnolo di Cosimo, known to history as Bronzino, emerged from the vibrant artistic landscape of Renaissance Florence in 1503, a period already brimming with genius. Born the son of a butcher, his path diverged sharply from familial trade, guided instead by an innate talent that would see him become one of the most sought-after portraitists of his era and a defining figure of Mannerism. His early training began with Raffaellino del Garbo, but it was under the tutelage of Jacopo da Pontormo that Bronzino’s artistic sensibilities truly took shape. While absorbing Pontormo's innovative style—characterized by expressive distortions and dramatic lighting—he ultimately forged his own distinct voice—one characterized by a cool composure and refined detail markedly different from his teacher’s often emotionally charged works. This early period was also influenced by studies with Andrea del Sarto, exposing him to the legacies of Michelangelo and Leonardo da Vinci, foundational influences that would subtly permeate his mature style. The young Bronzino quickly demonstrated an aptitude for capturing not just physical likeness but a certain psychological depth, even in his earliest commissions.

          Early Influences and Artistic Formation

          Pontormo’s impact on Bronzino was profound. Unlike Pontormo's emotionally turbulent compositions—often imbued with sorrowful expressions and swirling draperies—Bronzino favored a deliberate restraint, prioritizing clarity of line and meticulous rendering of surface textures. This stylistic preference reflected a broader trend within Mannerism—a rejection of High Renaissance ideals of harmony and balance in favor of stylized forms and unsettling perspectives. Bronzino’s apprenticeship under Pontormo instilled in him a fascination with sculptural techniques, evident in his approach to portraiture where he sought to achieve an almost three-dimensional effect through careful manipulation of volume and contour. Furthermore, the influence of Michelangelo—particularly his monumental sculptures—shaped Bronzino's understanding of anatomical precision and dramatic gesture. Leonardo da Vinci’s scientific observation and artistic experimentation similarly contributed to Bronzino’s intellectual curiosity and commitment to mastering the complexities of visual representation.

          Ascension at the Medici Court: Patronage and Artistic Output

          Bronzino’s career ascended dramatically with the patronage of Cosimo I de’ Medici, Duke of Tuscany. This relationship—established after Bronzino contributed to the lavish decorations celebrating Cosimo’s wedding to Eleonora di Toledo in 1539—cemented his position as the official court painter for much of his life. It was a role he fulfilled with unwavering dedication and remarkable skill. The portraits emanating from this period are not merely likenesses; they are carefully constructed statements of power, status, and dynastic ambition. Cosimo and Eleonora themselves became frequent subjects—immortalized in paintings that exude an aristocratic aloofness and polished elegance. These works weren’t simply about capturing physical resemblance but crafting enduring symbols of Medici authority. Bronzino's meticulous attention to detail—the textures of fabrics, the gleam of jewels, the subtle nuances of expression—all rendered with an almost enamel-like precision—became hallmarks of aristocratic representation. He was entrusted with decorating the chapel dedicated to Eleonora, a project spanning two decades and showcasing his versatility as a fresco painter. The resulting images are testament to Bronzino’s technical prowess and artistic vision.

          The Mannerist Style: Cool Composure and Sculptural Precision

          Bronzino's distinctive style—characterized by cool composure and sculptural precision—represented a radical departure from the prevailing aesthetic sensibilities of his time. Unlike the emotionally charged compositions favored by artists like Raphael or Michelangelo, Bronzino’s paintings eschewed dramatic gestures and expressive coloration in favor of deliberate restraint and meticulous rendering of surface textures. His figures are often posed in stiff, stylized positions—almost as if sculpted—creating an illusion of three-dimensionality that defied conventional artistic conventions. This stylistic preference reflected a broader trend within Mannerism—a rejection of High Renaissance ideals of harmony and balance in favor of distorted perspectives and unsettling spatial arrangements. Bronzino’s mastery of line—particularly his use of hatching and crosshatching—produced velvety surfaces that conveyed an uncanny sense of depth and luminosity. He achieved this effect by carefully controlling the interplay of light and shadow, creating a visual experience that was both intellectually stimulating and aesthetically captivating.

          Legacy and Influence: Shaping European Portraiture

          Bronzino’s influence extended far beyond Florence, shaping the visual language of aristocratic representation throughout Europe for generations to come. His cool elegance and refined technique became hallmarks of court portraiture—inspiring artists across the continent to adopt a similar stylistic approach. Scholars now recognize Bronzino's contribution to Mannerist art as pivotal in establishing a new aesthetic standard—one that prioritized intellectual complexity and stylistic control over emotional expression. Despite criticisms leveled against Mannerism during the Romantic era, Bronzino’s work has experienced a resurgence of appreciation in recent decades—demonstrating its enduring power to fascinate and inspire viewers centuries after his death in 1572. His legacy as one of the most important Mannerist painters—a master of reserved elegance whose portraits continue to captivate and intrigue—ensures his place among the titans of Renaissance art history.

          Alle 189 verk av Agnolo Bronzino →