{"title":"布龙奇诺的安东尼奥·拉皮肖像:布龙奇诺男性肖像的年代与服装的假设性认同","authors":"S. Wellen","doi":"10.1086/699814","DOIUrl":null,"url":null,"abstract":"AGNOLO BRONZINO (1503–72) was the most celebrated portrait painter in Florence of his generation, yet very few contemporary sources document and discuss this aspect of his work. In his discussion of the artists of the newly founded Accademia del Disegno, Giorgio Vasari praises Bronzino’s portraits as “all very natural, executed with incredible diligence, and finished so well, that nothing more could be desired” and as “so natural that they seem truly alive, and nothing is wanting in them save breath.” To modern eyes, however, Bronzino’s highly polished and sophisticated portraits hardly seem natural and lifelike. One critic has","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":null,"pages":null},"PeriodicalIF":0.1000,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":"{\"title\":\"Bronzino’s Portrait of Antonio Lapi: A Hypothetical Identification with Considerations of Chronology and Costume in Bronzino’s Male Portraits\",\"authors\":\"S. Wellen\",\"doi\":\"10.1086/699814\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"AGNOLO BRONZINO (1503–72) was the most celebrated portrait painter in Florence of his generation, yet very few contemporary sources document and discuss this aspect of his work. In his discussion of the artists of the newly founded Accademia del Disegno, Giorgio Vasari praises Bronzino’s portraits as “all very natural, executed with incredible diligence, and finished so well, that nothing more could be desired” and as “so natural that they seem truly alive, and nothing is wanting in them save breath.” To modern eyes, however, Bronzino’s highly polished and sophisticated portraits hardly seem natural and lifelike. One critic has\",\"PeriodicalId\":42173,\"journal\":{\"name\":\"I Tatti Studies\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.1000,\"publicationDate\":\"2018-09-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"1\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"I Tatti Studies\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1086/699814\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"N/A\",\"JCRName\":\"MEDIEVAL & RENAISSANCE STUDIES\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"I Tatti Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1086/699814","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"N/A","JCRName":"MEDIEVAL & RENAISSANCE STUDIES","Score":null,"Total":0}
引用次数: 1
摘要
AGNOLO BRONZINO(1503-72)是他那一代佛罗伦萨最著名的肖像画家，但很少有当代资料记录和讨论他工作的这一方面。乔治·瓦萨里(Giorgio Vasari)在讨论新成立的迪塞尼奥学院(Accademia del Disegno)的艺术家时，称赞布龙奇诺的肖像画“非常自然，执行得非常勤奋，完成得非常好，没有什么可以再要求的了”，“如此自然，他们似乎真的活着，除了呼吸，什么都不缺少。”然而，以现代人的眼光来看，布龙奇诺的高度抛光和复杂的肖像很难看起来自然和逼真。一位评论家
Bronzino’s Portrait of Antonio Lapi: A Hypothetical Identification with Considerations of Chronology and Costume in Bronzino’s Male Portraits
AGNOLO BRONZINO (1503–72) was the most celebrated portrait painter in Florence of his generation, yet very few contemporary sources document and discuss this aspect of his work. In his discussion of the artists of the newly founded Accademia del Disegno, Giorgio Vasari praises Bronzino’s portraits as “all very natural, executed with incredible diligence, and finished so well, that nothing more could be desired” and as “so natural that they seem truly alive, and nothing is wanting in them save breath.” To modern eyes, however, Bronzino’s highly polished and sophisticated portraits hardly seem natural and lifelike. One critic has
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