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 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]
David is the title of two statues of the eponymous biblical hero by the Italian Early Renaissance sculptor Donatello. They consist of an early work in marble of a clothed figure (1408–09), and a far more famous bronze figure that is nude except for helmet and boots, and dates to the 1440s or later. Both are now in the Museo Nazionale del Bargello in Florence. The first was Donatello's most important commission up to that point, and had a religious context, placed on Florence Cathedral. The bronze remains his most famous work, and was made for a secular context, commissioned by the Medici family.
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.
Liberty Displaying the Arts and Sciences, or The Genius of America Encouraging the Emancipation of the Blacks (1792) is an oil-on-canvas painting by the American artist Samuel Jennings. Held in the permanent collection of the Library Company of Philadelphia, this work is the earliest known American painting promoting abolitionism in the United States.
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.
The National Central Library of Florence is a public national library in Florence, the largest in Italy and one of the most important in Europe, one of the two central libraries of Italy, along with the Biblioteca Nazionale Centrale di Roma.
The Tribuna of the Uffizi (1772–1778) by Johan Zoffany is a painting of the north-east section of the Tribuna room in the Uffizi in Florence, Italy. The painting is part of the United Kingdom's Royal Collection.
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 Nation of Israel 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.
Andrea del Sarto was an Italian painter from Florence, whose career flourished during the High Renaissance and early Mannerism. He was known as an outstanding fresco decorator, painter of altar-pieces, portraitist, draughtsman, and colorist. Although highly regarded during his lifetime as an artist senza errori, his renown was eclipsed after his death by that of his contemporaries Leonardo da Vinci, Michelangelo, and Raphael.
View of Haarlem with Bleaching Fields is an oil on canvas painting by Dutch landscape painter Jacob van Ruisdael. It is an example of Dutch Golden Age painting and Haarlempjes, a specific style of Dutch landscape painting that focuses on views of Haarlem.View of Haarlem with Bleaching Fields is now in the collection of the Kunsthaus Zürich. This painting demonstrates several critical characteristics of 17th-century Dutch landscape painting, including a low horizon line, expressions of Dutch pride of place, and disguised religious symbolism. Through this work, Ruisdael expresses his pride as not only a Dutch citizen but also a citizen of Haarlem. Painted shortly after the end of the Eighty Years' War and the independence of the Dutch Republic, View of Haarlem with Bleaching Fields, and many other Dutch Golden Age paintings, united the newly formed nation under depictions of pride in their land and the prosperity of their country. Ruisdael went on to paint many similar views of Haarlem and its bleaching fields. Even after his death, these views would continue to be painted by his followers and inspire future generations of landscape painters.
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.
In art, symbolic language is the use of characters or images to represent concepts and imagery to communicate meaning by displaying an accessible concept, the signifier, to represent a signified concept.
De Modo Orandi is an anonymous thirteenth-century treatise on the prayer life of St. Dominic, the founder of the Dominican Order. The treatise is based on the testimony of Sister Cecilia of the Monastery of St. Agnes at Bologna. There are three extant manuscripts with illustrations of the saint's nine prayer postures. One is housed in the Vatican Library. The treatise presents nine prayer postures used by the saint each connected to a specific virtue. Below is the breakdown provided by William Hood.
Vincenzo de' Rossi was an Italian sculptor.
Andrew Dermot Morrogh is a British art historian and academic. He has taught in the United States at the University of Oregon College of Design and assistant at the Department of Art History at the University of Chicago. He has published several books and articles on the art and architecture of the Italian Renaissance. Among his publications is the catalogue of an exhibition he organised for the Uffizi, Disegni di Architetti Fiorentini 1540–1640 (1985).
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.
The Apennine Colossus is a stone statue, approximately 11 m high, in the estate of the Villa Demidoff in Vaglia, Tuscany in Italy. Giambologna created the colossal figure, a personification of the Apennine mountains, in the late 1580s. It was constructed on the grounds of the Villa di Pratolino, a Renaissance villa that fell into disrepair and was replaced by the Villa Demidoff in the 1800s.
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.
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