Bibliografías temáticas / Pontormo

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Literatura académica sobre el tema "Pontormo"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 30 de julio de 2024

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Artículos de revistas sobre el tema "Pontormo"

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Beuzelin, Cécile. "Le Double portrait de Jacopo Pontormo : vers une histoire du double portrait d'amitié à la Renaissance". Studiolo 7, n.º 1 (2009): 79–99. http://dx.doi.org/10.3406/studi.2009.1233.

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Jacopo Pontormos Doppelporträt : ein Beitrag zur Geschichte des Doppelporträts von Freunden in der Renaissance. Ausgehend von der Bildanalyse des von Jacopo Pontormo um 1523-1524 gemalten Doppelporträts sowie von der neueren Lektüre der antiken Abhandlungen über die Freundschaft, setzt sich dieser Artikel zum Ziel, die Geschichte des Doppelporträts von Freunden nachzuzeichnen und eine Differenzierung innerhalb der Doppelporträts der Renaissance vorzunehmen. In der Nikomachischen Ethik und der Großen Ethik nimmt Aristoteles eine Hierarchisierung gefühlsmäßiger Bindungen vor, indem er die wahre Freundschaft von Freundschaften, die auf ungleicher Basis beruhen, und von der Liebe unterscheidet. Dem Philosophen zufolge ist der ?wahre Freund ? ein anderes Ich. In der Renaissance wird diese Hierarchisierung weitgehend von Leon Battista Alberti übernommen, insbesondere in seinem De familia. Hierbei ist bemerkenswert, dass Pontormo in dem Doppelporträt eine Passage aus Ciceros De amicitia darstellt, einem damals sehr beliebten Buch, das von Aristoteles' Überlegungen zu diesem Thema abgeleitet ist. So stellt Pontormo sehr wahrscheinlich die von Aristoteles, Cicero und Alberti beschriebene "wahre Freundschaft" dar, indem er die Komposition nach dem Begriff des Doppelgängers und der Austauschbarkeit zwischen den zwei Protagonisten anordnet. Zudem scheint wie bei anderen seltenen Doppelportrts, etwa von Raffael und Metsys, das Doppelportrat ein Freundschaftspfand zwischen drei oder vier Freunden (den Auftraggebern, dem Empfänger und dem Maler) zu werden, das den Betrachter als gleich-wertige Person miteinbezieht. Pontormos Bild liefert somit einen Hinweis zum Verständnis der Freundschaftsbeziehungen und ihrer Darstellung in der Renaissance.
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Nigro, Salvatore S. "Pontormo." Art Book 2, n.º 1 (enero de 1994): 18b. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00351.x.

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Nigro, Salvatore S. "Pontormo." Art Book 2, n.º 1 (enero de 1995): 18b. http://dx.doi.org/10.1111/j.1467-8357.1995.tb00351.x.

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4

Lippit, Akira Mizuta y Jean-Claude Lebensztejn. "Jacopo da Pontormo." MLN 108, n.º 5 (diciembre de 1993): 967. http://dx.doi.org/10.2307/2904890.

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Barolsky, Paul. "PONTORMO, MICHELANGELO, CARAVAGGIO". Source: Notes in the History of Art 19, n.º 4 (julio de 2000): 12–17. http://dx.doi.org/10.1086/sou.19.4.23206950.

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Ragazzi, Alexandre. "A incerteza como método nos escritos e na arte de Jacopo Pontormo". LaborHistórico 6, n.º 2 (29 de diciembre de 2020): 250–66. http://dx.doi.org/10.24206/lh.v6i2.32306.

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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.
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Bravo, Carlo Del. "Dal Pontormo al Bronzino". Artibus et Historiae 6, n.º 12 (1985): 75. http://dx.doi.org/10.2307/1483237.

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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 (14 de septiembre de 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. El personaje protagonista, interpretado por Joe Mantegna, configura un Pontormo anciano y taciturno, afín a los postulados reformistas de Juan de Valdés. Paralelamente, la película recoge su enamoramiento de una enigmática tejedora flamenca (la actriz Galatea Ranzi), fruto de la adaptación de la novela Pas de Deux (1991), de la escritora sueca Ingamaj Beck. Este artículo propone un análisis del largometraje de Giovanni Fago a partir de su guion y de fuentes como el Diario del propio pintor y los testimonios de Giorgio Vasari. Por otra parte, en él se realiza un exhaustivo recorrido por las localizaciones cinematográficas, recreaciones artísticas (tableaux vivants) y personajes históricos mencionados en la película.
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Makatsariya, N. A., V. O. Bitsadze y J. Kh Khizroeva. "Multiple pregnancy in fine arts". Obstetrics, Gynecology and Reproduction 17, n.º 2 (22 de mayo de 2023): 269–73. http://dx.doi.org/10.17749/2313-7347/ob.gyn.rep.2023.401.

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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.
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Beuzelin, Cécile. "Le sourire du Laocoon dans la Pala Pucci de Jacopo Pontormo". Studiolo 13, n.º 1 (2016): 86–111. http://dx.doi.org/10.3406/studi.2016.1032.

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Il sorriso del Lacoonte sulla Pala Pucci di Jacopo Pontormo Nella Pala Pucci (1518), Jacopo Pontormo fa un uso singolare nel riferimento al Laocoonte. In effetti, egli non solo attribuisce i tratti del prete troiano a diversi volti di santi ma, sotto l’influenza di Raffaello, opera una vera sovversione della carica emotiva, trasformandone la classica espressione tragica in un sorriso. Questo articolo dimostra che, lungi dall’essere gratuita, questa citazione è affatto sensata. In entrambi i casi, la figura antica viene intesa come pre-figurazione del sacrificio del Cristo. A sua volta, la formula ossimorica del volto del Laocoonte sorridente attribuita a Gesù cristianizza la figura pagana. Il sorriso dell’Infante traduce la sua accettazione della divina incarnazione e si fa promessa per una resurrezione. La pala diviene così un vero e proprio percorso spirituale che passa attraverso il riconoscimento delle forme. Una scala celeste che apre la via verso il Signore.
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Tesis sobre el tema "Pontormo"

1

Costamagna, Philippe. "Jacopo da Pontormo (1494-1556)". Paris 4, 1994. http://www.theses.fr/1994PA040310.

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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
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Stimato, Gerarda. "Autoritratti letterari nella Firenze di Cosimo I : Bandinelli, Vasari, Cellini e Pontormo /". Bologna : Bononia university press, 2008. http://catalogue.bnf.fr/ark:/12148/cb414250405.

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Mérieux, Véronique. "Antinomies du maniérisme". Nice, 1992. http://www.theses.fr/1992NICE2020.

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Malgré la curiosité qu'il suscite depuis le début du vingtième siècle, le maniérisme italien demeure un phénomène artistique insaisissable dont les délimitations chronologiques (premier maniérisme toscan : 1480-1530, maniérisme académique : 1540-1580 n'éludent guère l'ambiguïté. Sont ainsi réunis sous cette appellation deux artistes aussi antinomiques que Vasari et Pontormo dont les œuvres et profils respectifs divergent totalement. Vasari, auteur des Vite (célèbre ouvrage comprenant deux-cent-cinquante biographies d'artistes) et artiste officiel des Médicis voua sa vie et son art à la glorification de ses protecteurs et appliqua les règles académiques promues par ces derniers. Dans un contexte identique (Florence - début du seizième siècle) Pontormo apparaît comme un artiste marginal et rebelle aux conditionnements courtisans. Mais si tous deux sont identifiés comme des figures maniéristes c'est qu'au-delà de cette apparente antinomie, l'étude de leurs profils respectifs permet de dégager une démarche fondamentalement commune dans l'échec. Echec de Vasari qui sacrifie l'authenticité de son inspiration à ses obligations académiques et contractuelles. Echec de Pontormo qui pour échapper aux pressions et codes artistiques courtisans voua son art et sa vie au monologue
In spite of the interest it has been arousing since the turn of the twentieth century, the italian mannerism still is an elusive artistic expression with the ambiguity can't be eluded by chronological delimitations (first tuscan mannerism : 1480-1530, academic mannerism 1530-1580). Thus, we gather under this denomination two antinomic artists as vasari and pontormo wich the respective works and lifes completely diverge. In fact Vasari, who wrote Le Vite (composed of two hundred and fifty artists biographies and official artist of the Medicis devoted his life and art to his protectors glorification and applied the academic rules. In the same contexte (Florence, turn of the sixteen century) Pontormo looks like a marginal artist, resistant to the court's conditionnings. But, if both of them are identified as mannerist figures it is because beyond this noticeable antinomy their respectif proceedings allow to bring out an itinerary basicly close to failure : Vasari's failure first, who sacrificed his authentical inspiration to his academic and contractual obligations. Pontormo's failure then, who doomed his life and art to a monologue in order to escape the court's and art's pressions and codes
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4

Beuzelin, Cécile. "Des décors éphémères de fête à la fondation de l'Accademia Fiorentina : Jacopo Pontormo ou la culture des peintres florentins dans la première moitié du XVIe siècle". Tours, 2007. http://www.theses.fr/2007TOUR2040.

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La première partie de la thèse montre l'apport de certains aspects de la culture florentine dans la formation et dans les oeuvres de Pontormo. D'abord, elle porte sur la place de la littérature et de la philosophie naturelle dans l'éducation et les oeuvres des peintres. Ensuite, elle montre l'importance du réseau social pour la diffusion de la culture, essentiellement constitué, à Florence au début du XVIe siècle, par les compagnies et les ateliers. Enfin, elle s'attache à l'étude des arts éphémères ainsi qu'à l'univers de la fête à la Renaissance et à leur impact dans les oeuvres permanentes des peintres florentins. La seconde partie de la thèse consiste en une analyse de la réception de quelques facettes de la culture d'"Oltrape" et du Nord de l'Italie chez les peintres florentins. Dans un premier temps, elle tente de donner une définition du double portrait d'amitié à la Renaissance
The first part of the thesis shows the contribution of certain aspects of Florentine culture in the formation and works of painters like Pontormo. First of all, it shows the place of literature and natural philosophy in the education and works of these painters. Secondly, it stresses the importance of social networks for the diffusion of culture, which, in Florence at the beginning of the XVIth century, were essentially made up of companies ("compagnie") and workshops. Finally, it pays particular attention to the study of ephemeral arts and the world of "feste" in Florence and their influence in the permanent works of the painters. The second part of the thesis consists of an analysis of the reception of certain aspects of the culture of the "oltrape" and northern Italy in Florentine painting. Thus, its presents a detailed study of the cycle of paintings of the "anticamera Benintendi" and, furthermore, attempts to define the double portrait of friendship in Renaissance
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Cremonte, Pastorello Elisabetta <1998&gt. "La ricezione dell'opera grafica di Albrecht Dürer in Andrea del Sarto e nel Pontormo. Un'indagine sul dibattito critico da Giovanni Gaetano Bottari alla Seconda Guerra Mondiale (1759-1943)". Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21942.

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L’elaborato prova ad indagare la fortuna dell’influenza dell’opera grafica di Albrecht Dürer sulle opere di Andrea del Sarto e Pontormo nella letteratura artistica tra la seconda metà del Settecento e la Seconda Guerra Mondiale o, più precisamente, dall’edizione delle Vite vasariane con il commento di Giovanni Gaetano Bottari pubblicata tra il 1759 e il 1760 a quella curata da Carlo Ludovico Ragghianti del 1943. Dopo una breve introduzione sul rapporto di Dürer con l’Italia e la fortuna delle sue opere nella Firenze di inizio Cinquecento, tenterò di individuare gli elementi fondamentali dell’analisi dell’influenza di Dürer sul Sarto e Pontormo e le loro trasformazioni sulla base dei commenti alle diverse edizioni delle Vite di Vasari, in confronto con altri testi coevi. La tesi si pone dunque come obiettivo di delineare cronologicamente la parabola della fortuna critica di questo tema, seguendo le direzioni divergenti che intraprende nell’analisi delle opere dei due pittori.
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Kitchen, Stacie Lauren. "Preferences of Patronage in the Portraits of Cosimo I de' Medici". Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1310853430.

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Hendrix, Tim Wesly [Verfasser], Ekaterini [Gutachter] Keptezis y Roland [Gutachter] Kanz. "Die Apotheose des Disegno. Jacopo da Pontormos Bildkonzeption / Tim Wesly Hendrix ; Gutachter: Ekaterini Keptezis, Roland Kanz". Köln : Universitäts- und Stadtbibliothek Köln, 2018. http://d-nb.info/1187440981/34.

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Maratsos, Jessica. "The Devotional Imagination of Jacopo Pontormo". Thesis, 2014. https://doi.org/10.7916/D8CN722C.

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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.
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Lin, Tzu-Chun y 林姿君. "To Study Jacopo Carucci da Pontormo''s life and his religious paintings". Thesis, 2004. http://ndltd.ncl.edu.tw/handle/80143880088747933007.

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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.
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Siemon, Julia Alexandra. "Bronzino, Politics and Portraiture in 1530s Florence". Thesis, 2015. https://doi.org/10.7916/D8RV0MNF.

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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.
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Libros sobre el tema "Pontormo"

1

Costamagna, Philippe. Pontormo. Milano: Electa, 1994.

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2

Pontormo, Jacopo Carucci, 1494-ca. 1556 y Giovannetti Alessandra, eds. Pontormo. Firenze: Octavo, 1994.

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author, Natali Antonio 1951 y Pontormo Jacopo da 1494-1556, eds. Pontormo. Cinisello Balsamo, Milano: Silvana editoriale, 2014.

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4

Pontormo, Jacopo Carucci. Pontormo: Drawings. New York: H.N. Abrams, 1992.

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5

Barañano Letamendía, Kosme María de, 1952- y Fundación Mapfre, eds. Pontormo: Dibujos. Madrid: Fundación Mapfre, 2014.

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Pontormo, Jacopo Carucci, 1494-ca. 1556., ed. Da Pontormo & per Pontormo: Novità alla Certosa. Firenze: Centro Di, 1996.

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Parlant, Pierre. Ma durée Pontormo. Caen: Nous, 2017.

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Letta, Elisabetta Marchetti. Pontormo, Rosso Fiorentino. Florence: Scala, 1994.

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Letta, Elisabetta Marchetti. Pontormo, Rosso Fiorentino. Antella, Florence: Scala, 1994.

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Falciani, Carlo. Pontormo: Disegni degli Uffizi. Firenze: L.S. Olschki, 1996.

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Capítulos de libros sobre el tema "Pontormo"

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Wild, Gerhard. "Pontormo, Jacopo da". En Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_13661-1.

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Wild, Gerhard. "Pontormo, Jacopo da: Diario". En Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_13662-1.

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Dall’Orto, Giovanni. "Pontormo, Jacopo Carucci da". En Who's Who in Gay and Lesbian History, 353–54. 2a ed. London: Routledge, 2020. http://dx.doi.org/10.4324/9781003070900-365.

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"»Molto strano«: Positionen zu Pontormo". En Kunst und Fremderfahrung, 17–38. transcript-Verlag, 2016. http://dx.doi.org/10.14361/9783839435984-002.

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"Jacopo Pontormo: A Scholarly Craftsman". En The Artist as Reader: On Education and Non-Education of Early Modern Artists, 69–104. BRILL, 2013. http://dx.doi.org/10.1163/9789004242241_003.

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Mersmann, Jasmin. "»Molto strano«: Positionen zu Pontormo". En Kunst und Fremderfahrung, 17–38. transcript Verlag, 2016. http://dx.doi.org/10.1515/9783839435984-002.

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"A Pontormo Legacy in Florence?" En Pontormo and the Art of Devotion in Renaissance Italy, 154–71. Cambridge University Press, 2021. http://dx.doi.org/10.1017/9781009037952.005.

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Geronimus, Dennis. "‘A More Loving and Constant Heart’ : Vittoria Colonna, Alfonso d’Avalos, Michelangelo and the Complicated History of Pontormo’s Noli me tangere". En Vittoria Colonna. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463723947_ch10.

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Resumen
Designed by Michelangelo, painted by Pontormo, and reproduced by other masters, the Noli me tangere (c. 1531–32) and its subsequent copies were the product of a chain of mediations on the part of painters, patrons and their proxies. The original recipient of the intensely dramatic composition, commissioned through an intermediary, was Vittoria Colonna. At the heart of this study is a discussion of the emotionally engaging—and profoundly unorthodox—ways in which Michelangelo and Pontormo envisage the tension of the moment of witness between the risen Christ and the Magdalene. The chapter also examines Colonna’s own spiritual and poetic relationship with the figure of Mary Magdalene, and that of other women in her circle.
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Pilliod, Elizabeth. "The influence of Michelangelo: Pontormo, Bronzino and Allori". En Reactions to the Master, 31–52. Routledge, 2017. http://dx.doi.org/10.4324/9781315089171-3.

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"ODE ON THE MOON, PONTORMO, AND LOSING MY MIND". En Holoholo, 49–50. University of Pittsburgh Press, 2021. http://dx.doi.org/10.2307/j.ctv1g4rvdp.26.

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Actas de conferencias sobre el tema "Pontormo"

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Пичугина, О. К. "TAPESTRIES IN ITALY DURING THE RENAISSANCE". En КОДЫ. ИСТОРИИ В ТЕКСТИЛЕ. Crossref, 2024. http://dx.doi.org/10.54874/9785605162971.2024.3.23.

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Статья посвящена истории развития шпалерного ткачества и бытования шпалер на территории Италии в XV–XVI вв. Рассматривается возникновение центров шпалерного производства в Венеции, Мантуе, Ферраре, Флоренции и Риме. Выявляется определяющая роль бургундских и нидерландских ткачей в создании шпалерных мастерских под патронажем итальянской аристократии и включение в ковровое производство выдающихся итальянских художников от Мантеньи и Козимо Тура до Рафаэля, Сальвиати, Понтормо и Бронзино. The article is devoted to the history of the development of trellis weaving and the use of trellises in Italy in the 15th–16th centuries. The article considers the emergence of trellis production centers in Venice, Mantua, Ferrara, Florence and Rome. The determining role of Burgundian and Dutch weavers in the creation of trellis workshops and under the patronage of Italian lords and the inclusion of outstanding Italian artists from Mantegna and Cosimo Tura to Raphael, Salviati, Pontormo and Bronzino in carpet production is revealed.
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