Littérature scientifique sur le sujet « Visitation (Pontormo, Jacopo da) »

A produção artística de Jacopo Pontormo já foi classificada tanto como integrada ao Maneirismo quanto como sendo a expressão de um experimentalismo anticlássico. Ao longo do século XX, muitas foram as tentativas empreendidas por historiadores da arte para vincular o Maneirismo a um ambiente configurado por profundas crises, e a obra de Pontormo não foi excluída desse cenário. Neste artigo, proponho uma revisão dessa interpretação através de uma possibilidade para seu desdobramento. Para tanto, recorro ao que aqui se define como “noção de incerteza”, algo que passou a se manifestar mais fortemente a partir daquele período. Com a intenção de demonstrar a plausibilidade dessa proposição, foram consideradas uma possível fonte intelectual, isto é, a renovação do ceticismo a partir da circulação da obra de Sexto Empírico, assim como os próprios escritos, pinturas e desenhos de Pontormo.

Here, we highlight aspects of visualizing twins in the fine arts. The works of artists Leonardo da Vinci, Jacopo Pontormo, Ker-Xavier Roussel, Jean-Bruno Gassies, Peter Paul Rubens, Sebastiano Ricci and others are presented.

This essay brings together two paintings that on the surface seem to have very little in common: one dates from 1528–29 (The Visitation by the Italian late Renaissance painter Jacopo Carucci, better known as Pontormo after his birthplace), the other from 1968 (Visible Mysteries no. 8 by Colin McCahon). They are brought together here because they share the same subject matter: the central Catholic doctrine of the Incarnation, the mystery of God’s word becoming flesh, and the belief that divine and human natures are united. These two paintings can, in both similar and different ways, teach us something about the visible mystery that is painting.

Quoiqu'il fut l'un des plus grands artistes de son temps, Pontormo se vit déconsidéré dès après sa mort. Il faudra en fait attendre 1916 et la première monographie consacrée à l'artiste pour redécouvrir l'œuvre de cet oublié de l'histoire. Elève de Leonard de Vinci, puis de Piero di Cosimo, Pontormo rejoignit la scuola di San Marco de Fra Bartolomeo-Albertinelli et enfin l'atelier d’Andrea del Sarto. La redécouverte de l'œuvre de Michel-Ange, très imprégnée de la pensée de Savonarole, lui permit d'établir les premières bases du maniérisme. Après le bref épisode de la république florentine et le retour aux affaires des Médicis, il réalisa pour la famille régnante plusieurs portraits, la décoration de la villa de Castello et les fresques du chœur de San Lorenzo. Pontormo mourut avant même d'avoir achevé ce cycle aujourd'hui disparu, qui fut terminé par Bronzino. Ultime hommage au maitre qu'il considérait comme un père. Agnolo Bronzino peignit le portrait de celui qui lui avait enseigne son art dans le fond du chœur, à la droite de Saint Laurent
Although one of his time's greatest artist, Pontormo fell into disrepute soon after he died. It was not until 1916, when his first monograph was published that he was rediscovered. Leonardo da Vinci’s and after Piero de Cosimo's student,Pontormo joined the Fra Bartolomeo Albertinelli's scuola di San Marco then Andrea del Sarto, scuola dell'annunziata. The rediscovery of Michelangelo’s work, very much impregnated by Savonarola’s thought, allowed him to establish the first bases of mannerism. After the short episode of Florentine’s republic, and the Medici return to business, he painted several portraits for the family, decorated the villa Castello, and did the san Lorenzo's lost frescoes. Pontormo died before he could finish them, and they were terminated by Bronzino. As an ultimate homage to his master whom he related to as his master, Agnolo Bronzino represented him, into the choir, on Saint Laurent's right side

In Italy the first half of the Cinquecento was marked by both flourishing artistic innovation and deep-seated religious uncertainty, the latter revealing itself most clearly in a widespread impetus towards reform. The relationship between these two cultural spheres--long a fraught problem in art historical scholarship--is made visually manifest in the religious works produced by the Florentine painter Jacopo da Pontormo. By re-examining Pontormo's three monumental religious commissions--the Certosa del Galluzzo (1522-27), the Capponi Chapel (1525-28), and the choir of San Lorenzo (1545-1557)--this dissertation maps the complex dialogue between artistic and devotional practice that characterized this era. Further, in highlighting the active role of the painter in this dynamic I propose a not only a new understanding of Pontormo, but also enrich our current notions of artistic agency in the Renaissance period. The foundation of these arguments derives from a re-evaluation of the specific historical context on the one hand, and the implementation of a broader framework of visual culture on the other. Taking its cue from Giorgio Vasari's 1568 edition of The Lives of the Artists, modern scholarship has tended to view much of the art from the early sixteenth century through a post-Tridentine lens; paintings are labeled controversial or heretical, when in fact such notions would not have been relevant in these earlier decades. Published five years after the conclusion of the Council of Trent, Vasari's Lives is predominantly characterized by the author's own attempts to codify artistic pedagogy and style in the service of the Medici Duchy, whose newly consolidated ties with the papacy were of primary importance. A further difficulty presented by following Vasari's example is the relatively narrow view of the artistic environment that his account affords. Aimed as it was towards the social elevation of the individual Renaissance artist, Vasari's narrative undervalues the importance of other genres and media--such as prints, Mystery plays, terracotta sculptures, and sacri monti--to the work of well-established painters like Pontormo. Each chapter examines a single, monumental project, delineating the artist's responsiveness to, and engagement with, the unique devotional and artistic challenges inherent to the individual commission. Chapter One resituates Pontormo's use of the maniera tedesca within the broader contexts of northern devotional practices and the parallels they form with affective strategies employed by other genres including sacre rappresentazioni and sacri monti. Chapter Two focuses on the painter's decision to portray himself the guise of Nicodemus, and the ways in which this identification evoked an entire web of historical associations--linked to hagiographic tradition and local legend--that would have been accessible to contemporary viewers. Finally, in Chapter Three I investigate Pontormo's pictorial approach, which combined an overarching diagrammatic simplicity with a complex, allusive figural language, as a means of communicating to the different levels of Florentine society that would have been his audience in this important parish church.

碩士
國立臺北藝術大學
美術史研究所
92
The topic of the thesis is Sixteen Century Italian Mannerism painter Jacopo Carrucci da Pontormo. Besides outlining his life based on Giorgio Vasari’s writings, the thesis will analyze and sum up the religious works painted by him. Therefore, not only finding his origins, furthermore, it will develop a process filled with artistic vocabulary. In the Western art history, Mannerism of the Sixteenth century is always the unfavorable art trend. In addition, it is in a difficult position right after the splendid Renaissance in the Fifteenth century. Nevertheless, there is no right or wrong, good or bad about the art style. Reflecting the look and taste of the society, the art style is merely the product that closely related to the atmosphere in that era. After the Seventeenth century, Mannerism keeps being criticizing. Until the beginning of Twentieth century, there are scholars and artists that attach importance to this art phenomenon again, reversing the negative and stereotyped image that Mannerism always gives to the public. Being the pioneer of Mannerism, Jacopo Carrucci da Pontormo painted the religious paintings and portraits all his life. From his religious paintings, we can observe his developing course. In the beginning, he inherited the classical style from the Renaissance; afterwards, he tried to seek more stylish vocabularies. Not limited under the restrictions of perspective, rationalism and regulations that being emphasized in the Renaissance, he gave paintings diverse faces. Agnolo Bronzino, Pontormo’s disciple, enhanced Mannerism left by Pontormo. They not only created important Italian art style in the Sixteenth century, also became the most famous and representative Mannerism painters in the art history.

This dissertation examines paintings by the Florentine artist Agnolo Bronzino, and by his teacher, Jacopo Pontormo. It takes as its focus works created during the period of 1529-39, a decade of political uncertainty and social unrest predating Bronzino's career as court painter. The study begins during the brutal Siege of Florence in 1529-30, which brought an end to the last Florentine republic. Although the republic's defeat made way for the establishment of the Medici duchy, the 1530s were marked by fervent and unrelenting republican opposition to the new dukes. These circumstances provide the background to this study, in which paintings by Bronzino and Pontormo are shown to offer eloquent--if sometimes cautious--comment on recent political events. The initial chapters address the relationship between two paintings carried out during the Siege, reconciling Pontormo's Portrait of a Halberdier (Francesco Guardi) with its allegorical cover, Bronzino's Pygmalion and Galatea. The first chapter reconsiders the role of Venus in Bronzino's painting, attributing to her a rousing, rather than pacifying, influence; she is shown to be a deity especially well-suited for reverence by young Florentine soldiers, and a fitting subject for the cover of Pontormo's republican portrait. The second chapter explores the specific political significance of Bronzino's artistic choices, paying special attention to his allusion to Michelangelo's marble David, whose form he incorporates into the figure of Pygmalion's beloved Galatea. The young hero David--shown to be one of the period's most potent republican symbols--is somehow manifest in each of the paintings considered, linking the four chapters. But whereas the Pygmalion and Galatea and Portrait of a Halberdier are explained as republican pictures created under republican rule, the portraits examined in the third and fourth chapters are presented as subversive images created under the Medici dukes. The third chapter reinterprets Bronzino's Portrait of Ugolino Martelli (c. 1537), as an expression of republican opposition to ducal rule. The fourth chapter proposes a new dating for Pontormo's Portrait of Carlo Neroni--presently understood as a republican picture dating to the period of the Siege--relocating its origin to c. 1538-9, well after the republic's defeat. This reassessment has important implications for a number of portraits by both artists, and it calls into question currently accepted art-historical approaches to Florentine culture in the 1530s. By identifying examples of republican factionalism in portraits painted by Pontormo and Bronzino under Medici rule, this dissertation discovers political dissent where previously considered impossible.