“非常大胆”:对不可多得的布朗齐诺的肖像研究

IF 0.1 0 MEDIEVAL & RENAISSANCE STUDIES
I Tatti Studies Pub Date : 2022-09-01 DOI:10.1086/721692
Sanne Wellen
{"title":"“非常大胆”:对不可多得的布朗齐诺的肖像研究","authors":"Sanne Wellen","doi":"10.1086/721692","DOIUrl":null,"url":null,"abstract":"AGNOLO BRONZINO ’S (1503–72) Portrait of Lodovico Capponi (1534–1614) in the Frick Collection in New York is one of the few portraits by the master in which the sitter has been securely identified (fig.1). Yet, like Bronzino’s other works, in the literature the painting is considered enigmatic and its dating varies considerably, ranging from 1548 to 1559, while mostly given a generic customary dating of 1550–55. Actually, the smooth and sophisticated brush and the reusing of details that characterize Bronzino’s oeuvre throughout make it difficult to establish an objective chronology and distinguish a neat stylistic development. Likewise, the overt idealization of his sitters’ traits makes it hard to grasp their age. Thus, in the critical literature the estimate of Lodovico Capponi’s age, as well as that of other sitters, diverges considerably. Lodovico is represented almost life size in three-quarter length, as a proud, selfassured young aristocrat, luxuriously dressed in the colors of the Capponi coat of arms. He wears a black taffeta jerkin adorned with velvet stripes on top and white satin braghe alla sivigliana below, and he stands in front of a radiant green hanging. In his left hand he holds a pair of gloves, and in his right hand is either a cameo or miniature portrait of a woman discretely blocked off from the beholder’s view by his index finger, while on its frame is written sorte (fate, fortune).","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":null,"pages":null},"PeriodicalIF":0.1000,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"2","resultStr":"{\"title\":\"“Ricco di tanto ardire”: A Contextual Study of Agnolo Bronzino’s Portrait of Lodovico Capponi\",\"authors\":\"Sanne Wellen\",\"doi\":\"10.1086/721692\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"AGNOLO BRONZINO ’S (1503–72) Portrait of Lodovico Capponi (1534–1614) in the Frick Collection in New York is one of the few portraits by the master in which the sitter has been securely identified (fig.1). Yet, like Bronzino’s other works, in the literature the painting is considered enigmatic and its dating varies considerably, ranging from 1548 to 1559, while mostly given a generic customary dating of 1550–55. Actually, the smooth and sophisticated brush and the reusing of details that characterize Bronzino’s oeuvre throughout make it difficult to establish an objective chronology and distinguish a neat stylistic development. Likewise, the overt idealization of his sitters’ traits makes it hard to grasp their age. Thus, in the critical literature the estimate of Lodovico Capponi’s age, as well as that of other sitters, diverges considerably. Lodovico is represented almost life size in three-quarter length, as a proud, selfassured young aristocrat, luxuriously dressed in the colors of the Capponi coat of arms. He wears a black taffeta jerkin adorned with velvet stripes on top and white satin braghe alla sivigliana below, and he stands in front of a radiant green hanging. In his left hand he holds a pair of gloves, and in his right hand is either a cameo or miniature portrait of a woman discretely blocked off from the beholder’s view by his index finger, while on its frame is written sorte (fate, fortune).\",\"PeriodicalId\":42173,\"journal\":{\"name\":\"I Tatti Studies\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.1000,\"publicationDate\":\"2022-09-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"2\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"I Tatti Studies\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1086/721692\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"MEDIEVAL & RENAISSANCE STUDIES\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"I Tatti Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1086/721692","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MEDIEVAL & RENAISSANCE STUDIES","Score":null,"Total":0}
引用次数: 2

摘要

纽约弗里克收藏的AGNOLO BRONZINO的《Lodovico Capponi(1534-1614)肖像》(1503-72)是这位大师为数不多的几幅肖像之一,其中的坐像被安全地识别出来(图1)。然而,像布龙奇诺的其他作品一样,在文献中,这幅画被认为是神秘的,它的年代变化很大,从1548年到1559年,而大多数人都给出了1550-55年的一般习惯日期。事实上,布龙奇诺作品中流畅而复杂的笔触和对细节的重复使用,使得我们很难建立一个客观的年代,也很难区分出一个整洁的风格发展。同样地,他对保姆性格的明显理想化,让人很难把握她们的年龄。因此,在批评文献中,对卡波尼的年龄的估计,以及其他保姆的年龄,分歧很大。洛多维科的身长几乎是真人的四分之三,他是一个骄傲、自信的年轻贵族,穿着卡波尼纹章的华丽色彩。他穿着一件黑色塔夫绸短上衣,上面装饰着天鹅绒条纹,下面是白色缎子,他站在一个闪闪发光的绿色悬挂前。他左手拿着一副手套,右手拿着一个女人的浮雕或微型肖像,用食指挡住了旁观者的视线,而在画框上写着sorte(命运,运气)。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
“Ricco di tanto ardire”: A Contextual Study of Agnolo Bronzino’s Portrait of Lodovico Capponi
AGNOLO BRONZINO ’S (1503–72) Portrait of Lodovico Capponi (1534–1614) in the Frick Collection in New York is one of the few portraits by the master in which the sitter has been securely identified (fig.1). Yet, like Bronzino’s other works, in the literature the painting is considered enigmatic and its dating varies considerably, ranging from 1548 to 1559, while mostly given a generic customary dating of 1550–55. Actually, the smooth and sophisticated brush and the reusing of details that characterize Bronzino’s oeuvre throughout make it difficult to establish an objective chronology and distinguish a neat stylistic development. Likewise, the overt idealization of his sitters’ traits makes it hard to grasp their age. Thus, in the critical literature the estimate of Lodovico Capponi’s age, as well as that of other sitters, diverges considerably. Lodovico is represented almost life size in three-quarter length, as a proud, selfassured young aristocrat, luxuriously dressed in the colors of the Capponi coat of arms. He wears a black taffeta jerkin adorned with velvet stripes on top and white satin braghe alla sivigliana below, and he stands in front of a radiant green hanging. In his left hand he holds a pair of gloves, and in his right hand is either a cameo or miniature portrait of a woman discretely blocked off from the beholder’s view by his index finger, while on its frame is written sorte (fate, fortune).
求助全文
通过发布文献求助,成功后即可免费获取论文全文。 去求助
来源期刊
I Tatti Studies
I Tatti Studies MEDIEVAL & RENAISSANCE STUDIES-
CiteScore
0.20
自引率
0.00%
发文量
0
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
确定
请完成安全验证×
copy
已复制链接
快去分享给好友吧!
我知道了
右上角分享
点击右上角分享
0
联系我们:info@booksci.cn Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。 Copyright © 2023 布克学术 All rights reserved.
京ICP备2023020795号-1
ghs 京公网安备 11010802042870号
Book学术文献互助
Book学术文献互助群
群 号:481959085
Book学术官方微信