- 9 Pins
Parmigianino (the nickname of Girolamo Francesco Maria Mazzola) (born 11 January, 1503; died 24 August, 1540), Self-Portrait in a Convex Mirror, painted around 1524,
Pre Modern Art, Girolamo Francesco, Painting Misc, Francesco Mazolla, European Pre Modern, Maria Mazzola, Art Painting, Francesco Maria, Convex Mirrors
Francesco Mazolla, dit Le Parmesan. (1503-1572)
Bronzino, Portrait of a Young Man, c. 1540. Absolute self-assurance!
Art, Book, New York, Agnolo Bronzino, Portraits, Young Man, Oil Painting, Mr Beans, Metropolitan Museums
Mr. Bean digitally painted into historical portraits | After “Portrait of a Young Man with Book” by Agnolo Bronzino
Portrait of a Young Man - Agnolo Bronzino. 1530s. Oil on panel. 95.6 x 74.9 cm. Metropolitan Museum of Art, New York City NY, USA.
© PaintingAll Art Gallery Handmade oil painting reproduction of Portrait of a Young Man 2, one of the most famous Mannerist Oil Paintings painted by Italian Florentine Mannerist Painter Agnolo Bronzino. Agnolo Bronzino (1503 - 1572) was a Florentine painter and one of the greatest portraitists of the 16th century and an outstanding exponent of Mannerism in religious art. He was court painter to Cosimo di Medici.
Portrait of a Woman and Her Little Boy, Bronzino, ca 1540
Young Woman, Italian Renaissance, Art, Young Women, 1540, Agnolo Bronzino, Portraits, National Gallery, Little Boys
A Young Woman and Her Little Boy (1540) by Agnolo Bronzino (National Gallery of Art, Washington, D.C.) - Italian Renaissance
Illumanu:16th century (ca. 1540), Italian detail from a portrait of a woman with a little boy by Agnolo Bronzino Washington, National Gallery of Art
Sybilla of Cleves, about 1540 - "Cranach" gown
Sisters, 16Th Century, Renaissance Fashion, Cleves, Henry Viii, Fashion Style, Princesses, Portraits Art, Lucas Cranach
This portrait of Princess Sybille of Cleves (1512-1554) was painted when she was fourteen years old and newly betrothed to Johann Friedrich I (1503-1554), the future Elector of Saxony. The oldest daughter of Johann III, Duke of Cleves, and Maria of Jülich-Berg, Sybille grew up at court in Düsseldorf with her sister Anne, one of the future wives of Henry VIII. Her marriage into the House of Saxony placed Sybille in the middle of the greatest ideological struggle of the sixteenth century, a reformation not only of the church but also of the state. A committed friend and supporter of Martin Luther, Johann Friedrich was actively engaged in the Reformation and took dramatic political and military risks to protect the reformatory movement. Sybille conducted a correspondence of her own with Martin Luther and actively supported her husband's many campaigns, defending Wittenberg in his absence during Emperor Charles V's siege of the city in 1546. This portrait of Sybille was painted sometime after her betrothal to Johann Friedrich in September 1526 and before their marriage on 3 June 1527. Emperor Charles V and Johann Friedrich's uncle, the Elector Friedrich III (called the Wise), had arranged a marriage between the future Elector and the Emperor's youngest sister Katharina in 1521. With no wedding having materialized by February 1524 and the marriage of Katharina to her cousin, King John III of Portugal, taking place in February 1525, the Elector began searching for another bride for his nephew. Johann Friedrich's betrothal to Sybille of Cleves took place at Burg on the Wupper on 8 September 1526 and the wedding ceremony followed on 3 June 1527 at Torgau. Lucas Cranach provided the lavish decorations. The jeweled and feathered wreath, the object most associated with the bride in sixteenth-century Germany, is the most obvious indication that this portrait was painted after Sybille's betrothal in September 1526. The wreath was linked symbolically to the bride's virginity, and she presented it to the groom at the engagement and wedding ceremonies as both a testament to and an offering of her virtue. The procession to the church was an important part of the wedding ceremony on all societal levels and at this time the bride would wear her hair loose or uncovered apart from the wreath, as Sybille appears here. In her procession into Saxony, Sybille was accompanied by two hundred horses ridden by the nobility of Jülich and Cleves. Apart from the wreath, symbols of her betrothal to Johann Friedrich are literally woven into the fabric of Sybille's dress. The House of Saxony is symbolized by the pattern in the gold fabric of her sleeves and around her waist and the three large interconnected chains around her chest. The pendant hanging from her neck announces the joining of the two families and suggests that this portrait was commissioned by her father. The letters on the pendant, 'i/j b c s', indicate both her lineage and the family she is soon to join - her father's full title was Duke of Iülich/Jülich, Berg and Cleves, and the dynasty she is joining is that of Saxony. A second betrothal portrait of Sybille of Cleves by Cranach appears together with a pendant of Johann Friedrich in Weimar (fig. 1; Schlossmuseum, oil on panel, 55 x 36 cm.). Both panels, signed with the artist's mark and dated 1526, are taller and slightly narrower than the present portrait. Sybille wears the same dress with the Saxon pattern woven into the gold fabric and the three large chains around her chest. Her hair is similarly worn down and the wedding wreath likewise sits at an angle on her head. Subtle changes in her pose and appearance, however, suggest a slightly different moment and, perhaps, the passage of time. The Weimar painting shows Sybille in a similar three-quarter-length pose against a dark background and her hands, rather than clasping one another at her waist, are held one over the other in a slightly lower position. Her hair has been pulled behind her shoulders and her face has taken on a more mature aspect. Her features and bone structure are more defined and her gaze appears to be more purposeful as she looks in the direction of her husband. Two changes in Sybille's dress are significant: her dress is red, the color of the dynasty of Cleves, and the pendant bearing her father's initials has been replaced with a jeweled cross. While Friedländer dated the present painting to 1525 largely due to the sitter's more youthful appearance, the details of Sybille's dress confirm that both this portrait and the Weimar pendant were painted during her nine-month betrothal to Johann Friedrich. Every aspect of these portraits, from the fabrics and jewels to her hair and her pose, had some significance to the contemporary viewer and while not all of the iconography is decipherable today, the differences between the Weimar painting and the present portrait may explain something about the circumstances in which they were created. As a pendant, the Weimar portrait served as a visual record of the formal joining of the houses of Saxony and Cleves. As with the divisions of a coat of arms, she represented her family by wearing the colors of her dynasty but the replacement of the more personal pendant bearing her father's initials may be an acknowledgment of the necessary shift of her loyalties from her own family to that of her husband. No pendant to our portrait is known and the green fabric of Sybille's dress has no connection with either house. It could have been a color that she particularly liked or carried some general association, as in previous centuries, with hope. There is no question that the pendant in this painting emphasizes her own lineage and it is possible that this portrait was made for Sybille's family in Cleves while the one in Weimar was an official portrait documenting the match. Cranach's linear style and his abstract sense of volume indicated by the concentric bands around Sybille's chest and arms lends itself to the use of the portrait medium as a way of signaling status. In court portraiture of this period the signaling of status was the goal. The union between Sybille of Cleves and Johann Friedrich of Saxony was a successful one and seems to have been genuinely affectionate. They had four sons, three of whom lived to adulthood to become Dukes of Saxony, Saxe-Weimar and Saxe-Gotha. Johann Friedrich conceded the capital city of Wittenberg to Charles V in 1547 in order to save the lives of his wife and sons and Luther's letter to Sybille of 30 March 1544 reflects her feelings of loss when he was away: That your Electoral Princessly Grace is unhappy because Our Most Gracious Lord, Your Electoral Princessly Grace's husband, is away, I can well believe. But because it is necessary, and because his absence is in the service and for the good of Christianity and the German nation, we must bear it patiently in accordance with God's will. If the devil were able to keep the peace, then we would have more peace and less to do, and especially less unpleasantness to bear.
Renaissance historical costume: fashion style source. Women's, 16th century, Germany -- the puffy sleeves, the hair circlet
Portrait, art, Aunty
pendant, 1540-1560, English, gold, garnet, peridot, sapphire
Enamels Gold, 1540 1560, Pendants, Antiques Jewelry, Jewellery, Great Britain, 15401560, Hessonite Garnet, Albert Museums
File:Renaissance VA.jpg - Antique Jewelry University
Pendant Place of origin: England, Great Britain (made) Date: 1540-1560 (made) Artist/Maker: unknown (production) Materials and Techniques: Enamelled gold, set with a hessonite garnet and a peridot, and hung with a sapphire Credit Line: Given by Dame Joan Evans Museum number: M.242-1975 Gallery location: Jewellery, room 91, case 52, shelf B, box 5
~Pendant Unknown maker England 1540 - 1560 Enamelled gold, set with a hessonite garnet and a peridot, and hung with a sapphire | Victoria and Albert Museum, London.
Man's shirt. 1540-1549.
1540 1549, England, Costumes, Man Shirts, 16Th Century, Embroidered Linens, Blackwork Embroidery, Albert Museums, Linens Shirts
England, Great Britain ca. 1540 Embroidered linen with silk. Until the mid 20th century a man’s shirt was an item of underwear. However, those parts of it exposed when the wearer was fully dressed were often embellished. In this example, the collar and cuffs are embroidered in a pattern of stylised columbine and leaves in cross stitch. The embroidery continues on the seams of the sleeves and shirt body, even though these would not be seen.
Embroidered linen shirt (man's) Place of origin: England, Great Britain (made) Date: ca. 1540 (made)
SON real-time reading, November 4 (Chapter 4) : "The severe lines of his doublet made him look even broader through the shoulders, while the acorns and oak leaves stitched in black around the edges of his white collar accentuated the paleness of his skin." - A sixteenth-century man's shirt with blackwork embroidery of the style (though not the exact design) Matthew would have worn under his black doublet. Blackwork embroidery was a type of embroidery popular throughout the 16th century, and involved dark monochromatic stitching on a pale background. Though classically done in black thread on white or cream, this example is in a dark blue. English, 1540s. Now in the collection of the Victoria and Albert Museum, London.
Florentine noblewoman 1540