PORTRAITS RESEARCH ESSAY

PORTRAITS RESEARCH ESSAY

Abstract

This document analyzes two famous paintings considering their mythological meaning of characters in them and their personalities. It highlights various aspects of the paintings and also highlights a case study relating to the artwork provided for this assignment. It discusses the artist brief background, inspirations plus visual analysis of the portraits considering various aspects and elements of the provided artwork.

Introduction

This paper analyzes and discusses two portraits related to this assignment. The first piece of work analyzed by this paper is the portrait of The Cosimo l de Medici in armour, the 1540s, accomplished by Agnolo Bronzino and the second one is the portrait of a gentleman with a falcon, circa 1548-circa 1550, accomplished by Nicolo dell’ Abate. This research paper discusses the relationship that exists between the portraits and the figure they represent. It also analyses the roles and status of the figures represented by the two portraits and cultural aspects they represent in reference to culture.

The Cosimo l de Medici in armour, the 1540s, accomplished by Agnolo Bronzino.

The image below represents the portrait by Agnolo Bronzino representing Cosimo de Medici in armour while holding a related helmet. The image depicted on the image below represent Cosimo who was born in 1519 by a famous soldier named Giovanni delle Bande Nara. He rose to power after the death of Alessandro de Medici who was killed in 1537 and ruled up to 1574. Cosimo was the founder of Tuscany grand duchy. The portrait have 25 imitations exists with slight variations. The portrait shows the youthful man in armour with his hand placed on a helmet(Charney, N. 2016). Several scholars have developed critics with are kind of confusing relating to the portrait which shows the youthful Cosimo dressed in metallic grey parade suit etched with decorations in the surface with golden rivets and crimson linings which reflects a white light. The helmet is resting on a wooden tree trunk with engravings in white color with background having a green tree branch which makes the artwork to be proportional and masterpiece artwork. The new branch in the portrait depicts the new rule of Cosimo after succeeding Alessandro which makes its meaning depict able(Gáldy, A.M.  2014). The olive tree branch represents peace which is connected to the lance plus the armour which covers substantial space on the portrait .the spikes .in the armour reflects light at designated angles and illustrate the Dukes physical distance and psychological space. Cosmo image is depicted to be peaceful and non-combative in nature since he rose to power without battle or violence related activities. This was achieved through negotiation with Spanish soldiers in 1543 which handed over military influence of Tuscany from emperor to the duke.

The painting above was developed on a medium of poplar using oil and is dated circa 1545. It has a height of 46.25 inches and width of 38.77 inches. It is currently located at New south wales art gallery(Gáldy, A.M.  2014). It is not having any signing or inscription but there are other digitized copies available. The painting represents one of Bronzino finest art and style which illustrates artistic maturity. The painter applied his personal artistic qualification and techniques that illustrate originality of his vision. It expresses perfectionism that portrays Bronzino through the piece of this artwork(Charney, N. 2016). The artist gave details like costume, decorations and jewellery representing the authoritative image of the Duke.

After the death of  Alessandro de Medici, his successor Cosmo de Medici brought back the hope of the Republic and went on to rule for thirty-seven years. He created a grand dukedom that was able to survive up to 1737. The Cosmo leadership had the impact on how historians portrayed the character of the duke and associated interpretations about politics, social and cultural elements related to his state(Gáldy, A.M.  2014). This paper expresses historical assumptions that illustrate the inner work of visual cultural expression of 16 century Florence. This part highlights the Cosimo regime represent through analysis of art developed and through cultural happenings. Cosimo is a powerful portrait painter that expresses a sense of immutable and elegance. This image represents intellectual aspects of arts.

The painting above expresses the artist likeness and other political agenda. The Duke’s portraits illustrate his power and acknowledging his status; the duke controlled the art production and related elements(Assimakopoulou, I. 2014). The painting illustrates elements of classical visual art, Medicean symbolism, Tuscan and republic elements.

The portrait represents some element of dark skin but general portrays the Duke as a powerful figure who brought changes to Florence. The armor and helmet depicts symbols of power and leadership image. The image illustrates sensible surface frostiness that represents the artist emotional heat. He was an adopted child and graduated to maturity in artwork with credentials for his style(Zirpolo, L.H. 2016). The portrait has reflections, shadows and highlights the Cosmo armor portrays transfixing interest. The artist concentrated on details of the painting such as the face that portrays the ducal sitter like polished stones.

The Bronzino painting illustrates ideas of renaissance which demonstrates individualism and realism. The artwork demonstrates individualism and they represent abundant details and were completed in 1545(Gáldy, A.M.  2014). This portrait  illustrates individualism from the expression of Cosmo attire. The facial expressions in the portrait of ignorant face that make it stand out from other works by the same artist. The facial expression demonstrates his popularity in relation to wealth. Realism is clearly visible in the complex details of the Cosmo facial expression(Zirpolo, L.H. 2016). The lack of religious elements in the painting shows secularism and the armor depicts essence composure illustrating renaissance elements.

This portrait of the duke shows dominating yet proud temperament with light shining on the pace and armor. It is considered to illustrate diplomatic victory associated with the duke after eliminating the Spanish garrison which had been thorn in the flesh for long period of time. The duke got power back power through help of Charles V who neglected the Spanish garrisons at Florence to handle his personal business((Zirpolo, L.H. 2016). The portrait shows an assertion related to continuity of the dynasty. The success was gained in 1543 when the duke paid Charles money and got opportunity to evacuate the Spanish garrisons in Florence.

Portrait of a gentleman with a falcon, circa 1548-circa 1550, accomplished by Nicolo dell’ Abate

This painting was developed using oil on canvas and it has a height of 54.92 inches with a width of 46.06 inches and is currently at New south wales art gallery. The painting developer Nicolo dell Abate was considered as an Emilian painter but was based in France where he worked and was related to the mannerist movement which was Europe court associated in the initial half of sixteenth century(Licciardello, P. 2015). The artist made his most recognized piece of artwork inspired by landscapes which had elegant images accompanied by pastoral theme.

The portrait illustrates a facial expression that shows uneasiness with mixture discomfort. The gentleman in the portrait has one glove on one hand where the falcon is perching. Falcon is considered a bird that illustrates might, power and strength. It depicts a man of stature, authority and command yielding unending power. The painting pre-empties Poussin plus Claude and the developer is a queer observer of internal aspects of his subjects and express unique elements of associated psychology. The gentleman in the image painted by the aristocrat has an almost indecisive atmosphere depicted by his authoritative pose and regalia. There is the presence of equivocal superiority manifested in the painting.

The portrait background expresses an element of a landscape that inspired most of the artist work. It also illustrates class and cosy lifestyle related to wealth and supremacy. Falcon is considered to be a representation of success, overcoming challenges and being successful in life (Spadaccini, M., 2014). The bird has the highest number of distribution and depicts a wondering spirit and considered to be powerful in regards to speed. In the portrait, the bird illustrates a warrior with a wandering spirit ready to conquer and overcome any prevailing obstacles. The falcon bird has a very sharp vision and always dives for its prey without missing the focus(Licciardello, P. 2015).

This paper has provided analysis of two portraits which are The Cosimo l de Medici in armour, the 1540s, accomplished by Agnolo Bronzino and Portrait of a gentleman with a falcon, circa 1548-circa 1550, accomplished by Nicolo dell’ Abate (Gáldy, A.M.  2014).. Both the paintings present finest work of their developers. Similarly they express elements of mannerist and are preserved at New south wales art gallery.

The first portraits depict Cosimo resembling Roman emperors with armour covering the duke’s chest with cloak covers. Cosimo influenced reforms in the court system present under his rule and developed strict legislations. Bronzino was commissioned to develop other portraits of the duke but this paper analyses just one of the paintings indicated in the assignment details. The second portrait was created by Nicolo dell Abate who was also mannerist by influence of his sentiments and works. It contains a gentleman in black cloak with a falcon perching is one of his hands. Both the individuals in the portraits are looking sideways and their eyes are not in contact with their viewers or rather audience.

Analysis of the case studies

The case study applied in writing of this assignment enhances the understanding of 16 century mythology imagery of the characters in fictious level and as characters of history personalities. The interpretation of mythology reinsannace imagery displays the classical elements of Italian culture(Charney, N. 2016). The religious fraternity used warnings and associated protests against those who promoted paganism. The members of Medici family used the full exploitation of mythological context especially when Cosimo rose to power(Assimakopoulou, I. 2014). Cosimos parents were both descendants of Medici and he proved to be astute and excellent ruler who rose above eminent challenges to handle the political temperature and boosted economy balancing the political situation. The duke applied the cultural vitality present in Florentine to express personalized imagery and his predestined rise to power.

Conclusion

This paper discusses objects present in the portraits and the person they represent and is limited to only two paintings discussed in the content above. Both the portraits discussed above are available on display at AGNSW. The paper discusses roles and status of individuals the portrait represented in the contest of cultural setting present at the time of their making.

References

Charney, N., 2016. Unlocking Bronzino’s Allegory: An Art Historical Mystery. J. Art Crime, 15, p.41.

Gáldy, A.M. ed., 2014. Agnolo Bronzino: Medici Court Artist in Context. Cambridge Scholars Publishing.

Assimakopoulou, I., 2014. Coexistence Of Mythological And Historical Elements And Narratives: Art At The Court Of The Medici Dukes (Doctoral dissertation, University of London).

Zirpolo, L.H., 2016. Historical dictionary of Renaissance art. Rowman & Littlefield.

Licciardello, P., 2015. Il testamento e la libreria di Sebastiano Salvini (1512). Aevum, 89(3), pp.525-560.

Spadaccini, M., 2014. Tommaso o Giustino?: Alcune osservazioni sul cambio di patrocinato della città di Chieti.