Monday, September 18, 2017

Portraits painted in Italy before 1600

Anonymous Lombard painter
Ceiling panel with bust-portrait in profile
ca. 1500
oil on panel
Museo Poldi Pezzoli, Milan

Bartolomeo Veneto
Portrait of a lady
ca. 1510-15
oil on panel
Museum of Fine Arts, Houston

Bartolomeo Veneto
Portrait of a gentleman
1512
oil on panel
Museum of Fine Arts, Houston

Vincenzo Catena
Portrait of a young man
ca. 1510
oil on panel
National Gallery, London

"Another passing good painter in the time of these masters was Vincenzo Catena, who occupied himself much more with making portraits from the life than with any other sort of painting; and, in truth, some that are to be seen by his hand are marvelous . . ." 

Moretto da Brescia
Portrait of a man
1526
oil on canvas
National Gallery, London

Jacopo Pontormo
Portrait of Maria Salviati de' Medici with young Giulia de' Medici
ca. 1539
oil on panel
Walters Art Museum, Baltimore

"The first work, then, that Jacopo [Pontormo] executed at that time was a little Annunciation for one his friend, a tailor; but the tailor having died before the work was finished, it remained in the hands of Jacopo, who was at that time with Mariotto, and Mariotto took pride in it, and showed it as a rare work to all who entered his workshop.  Now Raffaello da Urbino, coming in those days to Florence, saw with infinite marvel the work and the lad who had done it, and prophesied of Jacopo that which was afterwards seen to come true.  Not long afterwards, Mariotto having departed from Florence and gone to Viterbo to execute the panel-picture that  Fra Bartolomeo had begun there, Jacopo, who was young, solitary, and melancholy, being thus left without a master, went by himself to work under Andrea del Sarto, at the very moment when Andrea had finished the stories of S. Filippo in the court of the Servites, which pleased Jacopo vastly, as did all his other works and his whole manner and design.  Jacopo having then set  himself to make every effort to imitate him, no long time passed before it was seen that he had made marvelous progress in drawing and coloring, insomuch that from his facility it seemed as if he had been many years in art." 

Bernardino Licinio
Portrait of an architect, formerly identified as Andrea Palladio
1541
oil on canvas
Royal Collection, Great Britain

Agnolo Bronzino
Portrait of Eleonora of Toledo
1543
oil on panel
Národní Galerie, Prague

Francesco Salviati
Portrait of a man
ca. 1544-48
oil on panel
Getty Museum, Los Angeles

"To tell the truth, Francesco [Salviati], feeling himself bold and fertile in invention, and having a hand obedient to his brain, would have liked always to have on his hands works large and out of the ordinary.  And for no other reason was he strange in his dealings with his friends, save only for this, that, being variable and in certain things not very stable, what pleased him one day he hated the next; and he did few works of importance without having in the end to contend about the price, on which account he was avoided by many.  . . .  Even as those merry and jovial men are liked and held dear who live a free life and take part gladly in assemblies and banquets, so those are, I do not say shunned, but less liked and welcomed, who are by nature, as Francesco was, melancholy, abstinent, sickly, and cross-grained."

Titian
Portrait of a monk with a book
ca. 1550
oil on canvas
National Gallery of Victoria, Melbourne

Giambattista Moroni
Portrait of a left-handed gentleman (Il gentile cavaliere)
before 1578
oil on canvas
National Gallery, London

Giambattista Moroni
Portrait of a man holding a letter ('L'Avvocato')
before 1578
oil on canvas
National Gallery, London

Giambattista Moroni
Portrait of Canon Ludovico di Terzi
before 1578
oil on canvas
National Gallery, London

Giambattista Moroni
Portrait of the sculptor Alessandro Vittoria
1552
oil on canvas
Kunsthistorisches Museum, Vienna

 quoted passages are from Lives of the Painters, Sculptors and Architects by Giorgio Vasari (1568), translated by Gaston du C. de Vere (1912)