Bronzino’s portrait of Eleanor of Toledo and Son Giovanni c. 1545, is in typical Renaissance fashion with an idealized figure of Eleanor and her son.6 Measuring 45 1/4” X 37 3/4” the figures have a monumental presence within the frame. Eleanor is centralized and there is a diagonal emphasis from her head down to Giovanni’s head. Bronzino uses bold colors making the intricate details visible. The background is blue with a central lighting effect that emphasizes Eleanor’s face in a nimbus like effect; Eleanor interacts with the viewer as she looks on with a weary gaze.7 Eleanor is adorned in a head dress of a wide net and pearls which match the yoke of her dress. This yoke overlaps a black floral ribbon and is sandwiched between it and another trim of gold below it. Around her neck is a chain of pearls that is doubled, from the inner strand dangles a medallion, that encases what might be a diamond, with a tear drop pearl with earrings to match. The black and gold appear bold against the cream background. A gold chain falls around her waist with the end flowing beneath her finger tips and is treated with a tassel of what looks like small beads beyond a plain gold mandala. The chain falls were the bodice meets the skirt of the dress which is full and flowing. Her sleeves have ruffles at the shoulder seams as well as at its wrist. A type of puff created by slashing, was done with a type of white fabric, possibly satin, down the sleeves from shoulder to wrist and along the slashing is cording. Giovanni is wearing a simple blue dress, commonly worn by either sex up to a certain age. Peaking out from his dress is a pleated or ruffled cuff and also has an embroidered collar with either a pleated or ruffled edge. Eleanor’s right arm wraps around Giovanni and gently grips his shoulder while Giovanni’s hand rests on his mother’s dress as he looks forward as if at the viewer.
Bronzino was know as Agnolo Tori7 and became a favorite of Cosimo over his mentor and predecessor Pontormo, thus becoming the court’s painter.8 9 Bronzino’s art was typical of the Mannerist movement and it is present within his portraits with exaggeration of the figures within the frame as well as the elongated torso, arms and fingers. In the 1560 portrait of Eleanor her face is elongated in comparison to her portrait with her son Giovanni. As noted above, his skills as a draftsman are seen in the portraits in order to give researchers a good idea as to the fabrics, trims and techniques of the day. The body of Eleanor of Toledo was able to be identified based on the dress from Bronzino’s painting, which the corpse wore.10
6 A. Bronzino, Eleanor of Toledo and Son Giovanni, Florence, 1546)
7 The orginal research essay was describing Eleanor of Toledo and Son Giovanni c. 1545 with a blue background. Bronzino did this same painting more
than once. I left the discription as is for the sake of furthering the importance of this dress and how it impacted history.
8 F. Hartt, (2007) 669.
9 M. Grassi "Bronzino at Cosimo's Court." (2010) 1-6.
10 J. Thomas, “Fabric and Dress in Bronzino’s Portrait of Eleanor of Toledo and Son Giovanni.” (Zeitschrift für Kunstgeschichte , 1994) 262-267.
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