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| Agnolo Bronzino Pygmalion and Galatea ca. 1529-30 oil on canvas Galleria degli Uffizi, Florence |
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| Agnolo Bronzino Pygmalion and Galatea (detail) ca. 1529-30 oil on canvas Galleria degli Uffizi, Florence |
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| Agnolo Bronzino Pygmalion and Galatea (detail) ca. 1529-30 oil on canvas Galleria degli Uffizi, Florence |
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| Agnolo Bronzino St John the Baptist ca. 1562 oil on panel Galleria Borghese, Rome |
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| Agnolo Bronzino Pietà ca. 1550 oil on panel Basilica di Santa Croce, Florence |
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| Agnolo Bronzino Pietà (detail) ca. 1550 oil on panel Basilica di Santa Croce, Florence |
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| Agnolo Bronzino Pietà 1525 oil on panel Galleria degli Uffizi, Florence |
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| Agnolo Bronzino Panciatichi Holy Family ca. 1540 oil on panel Galleria degli Uffizi, Florence |
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| Agnolo Bronzino Resurrection of Christ 1552 oil on panel Basilica della Santissima Annunziata, Florence |
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| Agnolo Bronzino Virgin and Child with St John the Baptist and St Elizabeth ca. 1540 oil on panel National Gallery, London |
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| Agnolo Bronzino Virgin and Child with St John the Baptist and St Elizabeth (detail) ca. 1540 oil on panel National Gallery, London |
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| Agnolo Bronzino Virgin and Child with St John the Baptist and St Elizabeth (detail) ca. 1540 oil on panel National Gallery, London |
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| Agnolo Bronzino Virgin and Child with St John the Baptist ca. 1540 oil on panel Detroit Institute of Arts |
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| Agnolo Bronzino Raising of the Daughter of Jairus (detail with trumpeting Angel) ca. 1570-72 oil on panel Basilica di Santa Maria Novella, Florence |
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| Agnolo Bronzino Venus, Cupid and Envy 1548-50 oil on panel Museum of Fine Arts, Budapest |
"Agnolo Bronzino (1503-1572) – Florentine painter, one of the greatest portraitists of the 16th century and an outstanding exponent of Mannerism in religious art. After training with Raffaellino del Garbo (d. 1527) he became the pupil and quasi-adoptive son of Pontormo. Although he modelled his style on Pontormo's, the resemblance is superficial. Pontormo distorts the human form for the sake of emotional communicativeness and for him, as for Michelangelo, aesthetic beauty is symbolic of spiritual values. For Bronzino, style itself is a value: the poignancy of his best work is due to an abnegation of feeling."
– from the Yale Dictionary of Art and Artists, Erika Langmuir and Norbert Lynton (2000)