Allegory of Happiness is an oil on copper painting by Bronzino, probably first produced for the Studiolo of Francesco I, signed BROZ. FAC. and now in the Uffizi in Florence. [1] [2] [3] [4] It is now in a fluted and gilded 17th century wooden frame. [5] Most art historians date it to around 1567, and it is first mentioned in the Uffizi inventory in 1635/8. [6] [7]
Happiness is represented as a young woman with a cornucopia and caduceus in the centre of the painting with Cupid as a girl, representing love. [8] Prudence and Justice stand on either side of her, whilst the conquered enemies of peace and Fortune, with her wheel, lie at her feet. [9] [10] Graham Smith argues that this ideal state of happiness is Florence, and that it celebrates Cosimo I for the great public well-being of the time. [11]
Alessandro di Cristofano di Lorenzo del Bronzino Allori was an Italian painter of the late Mannerist Florentine school.
Agnolo Gaddi (c.1350–1396) was an Italian painter. He was born and died in Florence, and was the son of the painter Taddeo Gaddi, who was himself the major pupil of the Florentine master Giotto.
Santi di Tito was one of the most influential and leading Italian painters of the proto-Baroque style – what is sometimes referred to as "Counter-Maniera" or Counter-Mannerism.
Agnolo di Cosimo, usually known as Bronzino or Agnolo Bronzino, was an Italian Mannerist painter from Florence. His sobriquet, Bronzino, may refer to his relatively dark skin or reddish hair.
Johann Liss or Jan Lys was a leading German Baroque painter of the 17th century, active mainly in Venice.
The Portrait of Eleanor of Toledo and Her Son is a painting by the Italian artist Agnolo di Cosimo, known as Bronzino, finished ca. 1545. One of his most famous works, it is housed in the Uffizi Gallery of Florence, Italy and is considered one of the preeminent examples of Mannerist portraiture. The painting depicts Eleanor of Toledo, the wife of Cosimo I de' Medici, Grand Duke of Tuscany, sitting with her hand resting on the shoulder of one of her sons. This gesture, as well as the pomegranate motif on her dress, referred to her role as mother. Eleanor wears a heavily brocaded dress with black arabesques. In this pose, she is depicted as the ideal woman of the Renaissance. The painting is the first known state-commissioned portrait to include the ruler's heir. By including the child, Cosimo wished to imply that his rule would bring stability to the duchy.
Girolamo Macchietti was an Italian painter active in Florence, working in a Mannerist style.
The Crossing of the Red Sea, also known as The Crossing of the Red Sea and Moses Appointing Joshua, is a fresco painting by the Italian artist Agnolo di Cosimo, known as Bronzino, finished in 1542. It depicts the Israelites crossing the Red Sea from the book of Exodus and Moses commissioning Joshua to lead the Israelites into the Promised Land from the book of Numbers. It is housed in the Palazzo Vecchio, Florence.
Madonna Adoring the Sleeping Christ Child is a c.1475 tempera-on-panel painting by the Italian Renaissance artist Giovanni Bellini, measuring 77 cm by 56 cm. It forms part of the Contini Bonacossi Collection within the Uffizi Gallery in Florence.
The Libro de' Disegni was a collection of drawings gathered, sorted, and grouped by Giorgio Vasari whilst writing his Lives of the Most Excellent Painters, Sculptors, and Architects. By the time of his death in 1574 it is thought to have contained around 526 drawings, of which 162 are now in the Louvre and 83 in the Nationalmuseum, Stockholm. There are also drawings from the Libro in the prints and drawings departments of the Uffizi, the British Museum, the Albertina, the National Gallery of Art and other institutions.
The Studiolo of Isabella d'Este was a special private study, first in castello di San Giorgio, later the Studiolo was moved to the Corte Vecchi apartments in the Ducal Palace in Mantua, designed by, and with a collection of art specially commissioned by Isabella d'Este.
The Master of the Bigallo Crucifix or Bigallo Master was an Italian painter active around Florence in the first half of the 13th century. He ran one of the first fully organized workshops before Cimabue, specializing in large painted crucifixes for churches, one of the main formats for panel paintings at the time. His notname comes from one of these in the Museo del Bigallo in Florence. A similar work is in the Palazzo Barberini site of the Galleria Nazionale d'Arte Antica museum, Rome.
Allegory of Hercules is a c. 1535 oil on canvas painting by Dosso Dossi, now in the Uffizi in Florence. Its subject is uncertain and its sometimes almost known as Bambocciata or Stregoneria.
Nano Morgante was an Italian dwarf who was a famed buffoon and court jester in the court of Cosimo I de' Medici, Grand Duke of Tuscany. Morgante was ironically nicknamed after the giant from the poem of the same name by Luigi Pulci. He was the most celebrated of the five dwarves of the Medici court at the Palazzo Pitti.
Evelyn Sandberg-Vavalà, also known by her married name as Evelyn Kendrew, was a British art historian who studied iconography in the Italian Renaissance.
Woman Searching for Fleas, The Flea or Woman Getting out of Bed is a 1710-1730 oil on copper painting by Giuseppe Maria Crespi, a painter from Bologna. The main version is now in the collection of the Uffizi in Florence, whilst variants survive, including one at the Museo nazionale di palazzo Reale in Pisa, also originating in the Guardaroba of the Grand Dukes of Tuscany.
Judith is an oil on panel painting, attributed to Palma Vecchio, and created in 1525-1528. It is held in the Uffizi, in Florence. The attribution to Palma Vecchio was questioned in the past but is now usually accepted. Art historians Giovanni Battista Cavalcaselle and Joseph Archer Crowe have attributed it to Palma Vecchio, also identifying damage from heavy-handed cleaning, especially on the head of Holofernes. This attribution has been confirmed by György Gombosi and Giovanni Mariacher, who identified it as a mature work of that artist.
Holy Family with the Infant Saint John the Baptist and Saint Mary Magdalene is a 1508–1512 oil-on-panel painting by the Venetian painter Palma Vecchio. It was in archduke Leopold William of Austria's collection in Brussels from 1653 to 1662 before being moved to the Imperial Galleries in Vienna, before finally being exchanged for another work with the Uffizi in Florence in 1793, where it is now inventory number 950.
Vanitas is an oil-on-canvas painting executed ca. 1650–1670 by the Italian artist Mattia Preti, now inventory number 9283 in the Uffizi in Florence, for which it was bought in 1951 from a private collection. Art historians diasgree on whether the painting is a fragment of a larger work or retains its original dimensions, as well as whether it is a general vanitas or depicts Mary Magdalene.
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