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Journal articles on the topic 'Bronzino'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

Chiummo, Carla. "Burlesque Connotations in the Pictorial Language in Bronzino’s Poetry." Renaissance and Reformation 40, no. 1 (2017): 211–38. http://dx.doi.org/10.33137/rr.v40i1.28454.

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Agnolo di Cosimo, better known as Bronzino, was not only one of the most celebrated painters at the court of Cosimo I in Florence; he was also a dazzling poet, as Vasari reminds us in his Vite. Bronzino was the author of a Petrarchan canzoniere, as well as of burlesque poems. In his sonetti caudati, and in his paradoxical capitoli, burlesque language—characterized by its erotic puns and double meanings—interacts with the pictorial field in a strikingly original way. This interaction hinges on Bronzino’s employment of pictorial discourse: from simple, well-known burlesque symbols and metaphors—

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2

Barolsky, Paul. "BRONZINO FICTIONS." Source: Notes in the History of Art 25, no. 2 (2006): 23–25. http://dx.doi.org/10.1086/sou.25.2.23208100.

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3

Daniels, Harry. "The Abyss Behind the Mask: Ekphrastic Disembodiment and the "Bronzino" of Henry James's The Wings of the Dove (1902)." Henry James Review 45, no. 2 (2024): 135–49. http://dx.doi.org/10.1353/hjr.2024.a926111.

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Abstract: Explicating overlooked art-historical allusions to Vasari and other commentators, this article recontextualises Henry James's ekphrasis of Bronzino's Portrait of Lucrezia Panciatichi (c. 1540) in The Wings of the Dove (1902). James's ekphrastic prose imitates the painterly abstraction of the body characteristic of Bronzino's portraiture, in which faces become masklike, to dwell on dysphoric experiences of dis-embodiment. In placing his incurable heroine Milly Theale in front of the Bronzino in the novel, James intimates how the characteristic deformations of mannerist portraiture can

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4

Smith, Graham. "INGRES AND BRONZINO." Source: Notes in the History of Art 21, no. 4 (2002): 17–24. http://dx.doi.org/10.1086/sou.21.4.23208485.

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5

Goodchild, Karen Hope. "VASARI CONTRA BRONZINO." Source: Notes in the History of Art 28, no. 2 (2009): 28–32. http://dx.doi.org/10.1086/sou.28.2.23208604.

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6

Freda, Gustavo. "Les secrets de Bronzino." La Cause Du Désir N° 101, no. 1 (2019): 158. http://dx.doi.org/10.3917/lcdd.101.0158.

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7

Levine, Steven Z. "Courbet, Bronzino, and Blasphemy." New Literary History 22, no. 3 (1991): 677. http://dx.doi.org/10.2307/469209.

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8

Bravo, Carlo Del. "Dal Pontormo al Bronzino." Artibus et Historiae 6, no. 12 (1985): 75. http://dx.doi.org/10.2307/1483237.

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9

Eliav, Joseph. "Trident and Oar in Bronzino's Portrait of Andrea Doria." Renaissance Quarterly 73, no. 3 (2020): 775–820. http://dx.doi.org/10.1017/rqx.2020.119.

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Previously unpublished X-ray images prove that in the portrait commissioned for Giovio's museum, Bronzino painted Andrea Doria holding an oar, not a trident. The article interprets the portrait in its original form. Examination of the portrait together with the eulogy Giovio attached to it shows that Doria is painted as Odysseus, not as Neptune, and explains the incongruous oar. Erotic insinuations in the portrait suggest that, like Bronzino's burlesque poetry, it has a hidden meaning. Further analysis in the context of Giovio's historiography and a precise dating unveil a meaning that critici

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10

Crouch, Eric. "Man and Machine." British Journal of Psychiatry 159, no. 6 (1991): 28–29. http://dx.doi.org/10.1192/s0007125000031962.

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Medical Technology and Society: An interdisciplinary Perspective is published by the MIT Press, Cambridge, Massachusetts (£15,95 (pb), £26.95 (hb), 571 pp., 1990). Its publication is sponsored by the Affred P. Sloan Foundation as part of a New Liberal Arts Program for undergraduates. The authors, Joseph D. Bronzino, Vincent H. Smith and Maurice L Wade, are university teachers-Bronzino and Wade at Trinity College, Hartford Connecticut, and Vincent Smith is Professor at Montana State University.

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11

Parker (book author), Deborah, and Konrad Eisenbichler (review author). "Bronzino. Renaissance Painter as Poet." Quaderni d'italianistica 20, no. 1-2 (1999): 244–46. http://dx.doi.org/10.33137/q.i..v20i1-2.9466.

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12

Di Furia, Arthur J., and Deborah Parker. "Bronzino: Renaissance Painter as Poet." Sixteenth Century Journal 34, no. 1 (2003): 194. http://dx.doi.org/10.2307/20061338.

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13

Day, Jean. "The Crowd from a Bronzino." boundary 2 14, no. 1/2 (1985): 49. http://dx.doi.org/10.2307/303486.

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14

Leferman, Bryan. "Book review: Bronzino - Renaissance painter as poet." Rivista di studi italiani XXII, no. 2 (2004): 312–15. https://doi.org/10.5281/zenodo.1135076.

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15

Parker, Deborah. "Bronzino and the Diligence of Art." Artibus et Historiae 25, no. 49 (2004): 161. http://dx.doi.org/10.2307/1483751.

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16

Baskins, Cristelle Louise. "Bronzino: Renaissance Painter as Poet (review)." Journal of the History of Sexuality 11, no. 3 (2002): 525–27. http://dx.doi.org/10.1353/sex.2003.0004.

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17

Bass, David R., and Cheryl Kayahara-Bass. ":The Drawings of Bronzino." Sixteenth Century Journal 42, no. 3 (2011): 953–54. http://dx.doi.org/10.1086/scj23076607.

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18

Kennedy, William J. "Book Review: Bronzino: Renaissance Painter as Poe." Forum Italicum: A Journal of Italian Studies 35, no. 1 (2001): 278–80. http://dx.doi.org/10.1177/001458580103500124.

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19

Lippi, D., and C. M. Rotella. "Bronzino or Pontormo? Look at the Neck!" Journal of Endocrinological Investigation 33, no. 1 (2010): 72–73. http://dx.doi.org/10.1007/bf03346554.

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20

Moffitt, John F. "A Hidden Sphinx by Agnolo Bronzino, “ex tabula Cebetis Thebani”." Renaissance Quarterly 46, no. 2 (1993): 277–307. http://dx.doi.org/10.2307/3039062.

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In 1568 Giorgio Vasari Described (from already dim memories) a now-famous allegorical painting that had been painted by Bronzino (Agnolo Allori) for Cosimo I de’ Medici. Now usually known as The Exposure of Luxury, the picture in the National Gallery in London seems by general acknowledgement to have been done around 1545 (Fig. I). According to Vasari's recollection Bronzino had “made a picture of singular beauty” that was sent to the king of France, François I. As best as Vasari could recall, the particulars of its complicated iconographic program were all devoted to variations on an erotic t

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21

Fiorani, Francesca, and Elizabeth Pilliod. "Pontormo, Bronzino, Allori: A Genealogy of Florentine Art." Sixteenth Century Journal 34, no. 1 (2003): 300. http://dx.doi.org/10.2307/20061407.

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22

Kokott, Juliane. "Bronzino v. Kindergeldkasse. Gatto v. Bundesanstalt Für Arbeit." American Journal of International Law 84, no. 4 (1990): 926–29. http://dx.doi.org/10.2307/2202844.

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23

Wildmoser, Rudolf. "Das Bildnis des Ugolino Martelli von Agnolo Bronzino." Jahrbuch der Berliner Museen 31 (1989): 181. http://dx.doi.org/10.2307/4125857.

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24

Parker, Deborah. "The poetry of patronage: Bronzino and the Medici." Renaissance Studies 17, no. 2 (2003): 230–45. http://dx.doi.org/10.1111/1477-4658.t01-1-00018.

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25

Geremicca, Antonio. "Inedite corrispondenze in versi tra Benedetto Varchi e Agnolo Bronzino." Italique, no. XXII (November 1, 2019): 59–80. http://dx.doi.org/10.4000/italique.495.

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26

Costamagna, Philippe, and Carlo Falciani. "Le Christ en Croix d’Agnolo Bronzino peint pour Bartolomeo Panciatichi." Revue de l'art N° 168, no. 2 (2010): 45–52. http://dx.doi.org/10.3917/rda.168.0045.

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27

OʼBryan, Robin. "Portrait of a Renaissance Dwarf: Bronzino, Morgante, and the Accademia Fiorentina." Art Bulletin 100, no. 3 (2018): 80–105. http://dx.doi.org/10.1080/00043079.2018.1429746.

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28

Lundahl, Kalle O. "The Architectural Setting in the Portrait of Ugolino Martelli by Bronzino." Konsthistorisk Tidskrift/Journal of Art History 82, no. 1 (2013): 26–35. http://dx.doi.org/10.1080/00233609.2012.699002.

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29

Juárez Landín, Cristina, Marco Alberto Mendoza Pérez, José Ramon Silverio García Ibarra, and Juan Manuel Sánchez Soto. "Procesamiento Digital de Señales e Imágenes Médicas con Propósito de Diagnóstico Para Reducir Riesgos en Salud." Ciencia Latina Revista Científica Multidisciplinar 8, no. 5 (2024): 2925–35. http://dx.doi.org/10.37811/cl_rcm.v8i5.13751.

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El procesamiento digital de señales e imágenes médicas ha emergido como una herramienta crucial en la medicina moderna, permitiendo diagnósticos más precisos y tempranos que pueden reducir significativamente los riesgos asociados con diversas enfermedades. Este artículo explora en detalle las técnicas y metodologías utilizadas en el procesamiento de señales e imágenes médicas, su impacto en la reducción de riesgos para la salud, y el rol de las tecnologías emergentes, como la inteligencia artificial y el aprendizaje profundo, en este campo (Bronzino, J. D., 2018). Además, se analiza el estado

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30

Daffara, Claudia, and Raffaella Fontana. "Multispectral Infrared Reflectography to Differentiate Features in Paintings." Microscopy and Microanalysis 17, no. 5 (2011): 691–95. http://dx.doi.org/10.1017/s1431927611000031.

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AbstractInfrared reflectography is a well-known technique based on wideband imaging in the near-infrared (NIR) range used for painting diagnostics in conservation laboratories.. This work is focused on the application of multiband reflectography for analysis of pictorial layers and differentiated detection of painting features. This technique generates a set of narrowband NIR images of the painting. Starting from a dataset that is registered, metrically correct, and calibrated, the capability of collecting both spectral and spatial information has been exploited by processing the image cube wi

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31

Britton, Piers D., and Carl Brandon Strehlke. "Pontormo, Bronzino, and the Medici: The Transformation of the Renaissance Portrait in Florence." Sixteenth Century Journal 37, no. 2 (2006): 573. http://dx.doi.org/10.2307/20477936.

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32

Dunlop, Gillian M. "Bronzino and the Evolution of a Portrait, Barbara Williams, by Gillian M. Dunlop." JAMA Facial Plastic Surgery 16, no. 4 (2014): 237–39. http://dx.doi.org/10.1001/jamafacial.2014.49.

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33

De Klerck, Bram. "Bronzino and a Bronze Boar. Hans Christian Andersen and Stendhal in Nineteenth-Century Florence." Incontri. Rivista europea di studi italiani 30, no. 1 (2015): 3. http://dx.doi.org/10.18352/incontri.10051.

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34

Urry, Serena. "Evidence of Replication in a Portrait of Eleonora of Toledo Byagnolo Bronzino and Workshop." Journal of the American Institute for Conservation 37, no. 2 (1998): 211–21. http://dx.doi.org/10.1179/019713698806082868.

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35

Parker, Deborah. "Towards a Reading of Bronzino's Burlesque Poetry." Renaissance Quarterly 50, no. 4 (1997): 1011–44. http://dx.doi.org/10.2307/3039403.

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In his “Capitolo in Lode Del Dappoco,” a facetious tribute to the worthless person, the painter Agnolo Bronzino (1503-72) muses to his cat Corimbo about how he likes to spend his evenings: “Tu sai Corimbo, che tal volta io leggo/ così nel letto, per adormentarmi,/ o quando, com'or teco al fuoco seggo;/ e hai veduto anche scombiccherarmi/ qualche foglio e compor qualche cosetta/ per passar tempo e ‘1 cervel ricriarmi (You know Corimbo that I read like this in bed in order to fall asleep, or when as now, I sit with you at the fire; and you have seen me scribbling on some papers and composing som

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36

Urry, Serena. "Evidence of Replication in a "Portrait of Eleonora of Toledo" by Agnolo Bronzino and Workshop." Journal of the American Institute for Conservation 37, no. 2 (1998): 211. http://dx.doi.org/10.2307/3179803.

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37

GERONIMUS, DENNIS. "Bronzino: pittore e poeta alla corte dei Medici - Edited by Carlo Falciani and Antonio Natali." Renaissance Studies 26, no. 5 (2012): 744–57. http://dx.doi.org/10.1111/j.1477-4658.2012.00809.x.

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38

Amir Maruf, Muhammad, Bambang Guruh Irianto, and Tri Bowo Indrato. "DC SHOCK SIMULATOR." Journal of Electronics, Electromedical Engineering, and Medical Informatics 1, no. 2 (2019): 18–24. http://dx.doi.org/10.35882/jeeemi.v1i2.4.

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Defibrillators are electronic devices that carry shock electrical signals (pulses) to the heart muscle to maintain myocardial depolarization that is undergoing cardiac fibrillation (ventricular fibrillation or atrial fibrillation) (Bronzino, 2000). There are several conditions that must be met for the occurrence of shock processes including shock time, energy to be provided, patient and operator safety. In this defibrillator the use of selectors / energy selection is linear in the range 1-30 Joules with the use of tools at 10, 15, 20, 25, 30 Joules. The energy will then be discarded or given t

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39

Vatteroni, Selene Maria. "Der Dichter vor dem Porträt. Dichtung und Malerei um die Sonetti Benedetto Varchis." Romanistisches Jahrbuch 71, no. 1 (2020): 204–30. http://dx.doi.org/10.1515/roja-2020-0006.

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AbstractBenedetto Varchi’s Due Lezzioni not only represent the high point of the debate on the paragone between painting and sculpture, but they also bring up the question of the comparison of painting and poetry. Building his argument on their common foundation in imitation, in the second lecture Varchi advocates the superiority of poetry over painting based on its mimetic capacity. My paper investigates this topic in Varchi’s sonnets, focusing on a rhetorically consistent series of poems addressed to the painter and poet Angolo Bronzino, with whom the poet enjoyed a close friendship, and cul

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40

Hogan, Dana V. "Constructing the Image of a Cardinal-Prince: Child Portraits of Giovanni de’ Medici by Bronzino and Salviati." Comitatus: A Journal of Medieval and Renaissance Studies 50, no. 1 (2019): 139–75. http://dx.doi.org/10.1353/cjm.2019.0001.

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41

Pierguidi, Stefano. "Dalla "Veritas filia Temporis" di Francesco Marcolini all' "Allegoria" di Londra del Bronzino: Il Contributo di Francesco Salviati." Artibus et Historiae 26, no. 51 (2005): 159. http://dx.doi.org/10.2307/1483781.

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42

Franz, Fabio. "An Inspirational Milieu." Experiment 23, no. 1 (2017): 81–92. http://dx.doi.org/10.1163/2211730x-12341302.

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Abstract This paper focuses on the provenance, conservation history, and critical fortuna of some selected Western European paintings that were placed in Saint Petersburg between 1850 and 1917. In my research, I link archival information with scientific bibliography and material data for three purposes: Firstly, I compare the two stays in Russia, in 1861 and 1862, by the German expert Gustav Friedrich Waagen with the 1865 visit to St. Petersburg of the Italian connoisseur Giovanni Battista Cavalcaselle. Secondly, I investigate Cavalcaselle’s alleged meeting with the Russian expert Fedor Antono

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43

De Mingo Lorente, Adolfo. "Pontormo, un amore eretico (Giovanni Fago, 2004): un pintor «nacido bajo el signo de Saturno» en la gran pantalla." Anales de Historia del Arte 33 (September 14, 2023): 229–53. http://dx.doi.org/10.5209/anha.85731.

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El pintor manierista Jacopo Carucci (1494-1557), llamado Pontormo, es uno de los artistas más a menudo mencionados por Rudolf y Margot Wittkower dentro de su célebre ensayo Nacidos bajo el signo de Saturno (1963). Cuarenta años después, el cineasta Giovanni Fago trasladó a la gran pantalla su peculiar personalidad a través de la ejecución de los frescos para el coro de la basílica de San Lorenzo de Florencia. La película Pontormo, un amore eretico recrea la sociedad y la cultura de esta ciudad en 1555, en tiempos de Cosme I de Medici, a través de figuras como Benedetto Varchi y Agnolo Bronzino

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44

Venkatraman, Subbu S. "Introduction to biomedical engineering J. Enderle, S. Blanchard, J. Bronzino, Academic Press, 2000, 1056 pages, $79.95. ISBN: 0-12-238660-4." Journal of Controlled Release 75, no. 1-2 (2001): 228–29. http://dx.doi.org/10.1016/s0168-3659(01)00385-6.

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45

Bruyn, J. "Een portret van Pieter Aertsen en de Amsterdamse portretschilderkunst 1550-1600." Oud Holland - Quarterly for Dutch Art History 113, no. 3 (1999): 107–36. http://dx.doi.org/10.1163/187501799x00445.

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AbstractThe portrait of Symon Marten Dircksz. (1504-1574) preserved in Athens (fig. I, notes 1, 2), was identified on the strength of his coat of arms. The sitter was a staunch Catholic and held high offices in the Amsterdam city government. His portrait, dated 1565, is the earliest specimen of a type that was produced during the last decades of the sixteenth century by the sons of Pieter Aertsen (1507/ 08-1574), Pieter (1540/41-1603) and Aert Pietersz. (1550-1612) (figs. 2, 3, 4, 8, 9). In view of the documented relations between Pieter Aertsen and various prominent Amsterdam citizens and als

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46

Kirkham, Victoria. "Deborah Parker. Bronzino: Renaissance Painter as Poet Cambridge and New York: Cambridge University Press, 2000. x + 233 pp. $55. ISBN: 0- 521-78166-3." Renaissance Quarterly 55, no. 2 (2002): 698–99. http://dx.doi.org/10.2307/1262329.

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47

Andrews, Lew. "Elizabeth Pilliod. Pontormo, Bronzino, and Allori: A Genealogy of Florentine Art. New Haven and London: Yale University Press, 2001. x + 289 pp. index, illus. bibl. $55. ISBN: 0-300-08543-5." Renaissance Quarterly 56, no. 2 (2003): 478–81. http://dx.doi.org/10.2307/1261872.

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48

Vo, Ha T. N. "Investigation of current status and disease progress of bronzing on “Thai” jackfruit (Artocarpus heterophyllus Lam.) in Tien Giang province." Journal of Agriculture and Development 22, no. 02 (2023): 11–22. http://dx.doi.org/10.52997/jad.2.02.2023.

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Tien Giang is one of the Mekong Delta's largest jackfruit-growing provinces, with a total cultivation area of jackfruit of approximately 13,141.09 ha. Bronzing of jackfruit appeared on Thai jackfruit and caused significant damage to growers, however, the information about the disease is still limited. In this study, we assessed the status of bronzing diseases on Thai jackfruit in Tien Giang province via direct interviews with farmers, mapped the disease distribution by Google Earth, and recorded the disease appearance on Thai jackfruit during the year's two main seasons. Bronzing of Thai jackf

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49

Wood, Bruce W., Charles C. Reilly, Ted Cottrell, W. Louis Tedders, and Ida Yates. "Bronzing of Pecan Foliage." Journal of the American Society for Horticultural Science 125, no. 1 (2000): 41–46. http://dx.doi.org/10.21273/jashs.125.1.41.

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The influence of pecan [Carya illinoinensis (Wangenh.) K. Koch] leaflet bronzing, a discoloration of the lower surface, on foliar physiology and nut-meat yield is unknown. Field investigations indicate that bronzing can adversely affect foliage by reducing net photoassimilation (A), stomatal conductance (sgw), and transpiration (E) while also altering stomatal aperture and cellular structure, and increasing temperature. Kernel weight and fill percentage are also reduced. Research indicated that foliar A declined in proportion to degree of bronze coloration, with negative A exhibited by heavily

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50

Polito, Vito S., Kirk D. Larson, and Katherine Pinney. "Anatomical and Histochemical Factors Associated with Bronzing Development in Strawberry Fruit." Journal of the American Society for Horticultural Science 127, no. 3 (2002): 355–57. http://dx.doi.org/10.21273/jashs.127.3.355.

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Bronzing of strawberry (Fragaria ×ananassa Duchesne) fruit that is not the result of arthropod feeding or chemical spray application occurs frequently in California's central coast strawberry production region from late spring through midsummer, a period characterized by relatively high temperature, low relative humidity, and high solar irradiance. The cause of this phenomenon is not known, but in preliminary trials, intermittent, midday misting of plants and increased drip irrigation rate resulted in reduced incidence of fruit bronzing. To characterize the bronzing phenomenon and its developm

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