Jacopo Pontormo did not have an easy start in life, as he was an orphan at the age of ten. But this hard blow of fate did not prevent him from becoming a recognized member of the 16th century Florentine art scene. After the orphan had to stay with his grandmother at first, in 1508 he moved from his hometown near Empoli to the cultural centre of Italy in the 16th century: Florence. There he could learn from the best masters of his guild. Among others, he was a student of Leonardo da Vinci, Piero di Cosimo and Andrea del Sarto.
As was customary for the period, Pontormo mainly created frescoes, portraits and altarpieces. Sacral and spiritual motifs are at the centre of his creative power. Stylistically, he is to be categorized as a mannerist. The name of this style from the late Renaissance is the programme: it is based on the idea that an artist should not be limited in his activity by the guidelines of a certain school, but should develop and underline his very own style, his "maniera". In this way, this style deliberately sets itself apart from the geometrically calculated compositions of the Renaissance. The focus is no longer on the representation of classical simplicity and harmonious forms based on the antique model. These were replaced by a deliberately complex, overflowing and idealising style, often interspersed with enigmatic allegories that were only conclusive to initiated art connoisseurs.
Pontormo was one of this circle, who, in search of the manifestation of a very personal "maniera", liked to experiment with a refined colour effect. Characteristic of his style is the search for a refined elegance, which in his case is expressed in overlong limbs or artistic coils in the representation of human bodies. In this way, following historical sources, he even managed to be praised in high notes by Michelangelo himself and to be commissioned by the famous Medici family. Thus he produced numerous portraits in addition to numerous mystical and religious frescoes, such as the entombment of Christ, the archangel Gabriel or Joseph in Egypt. Among them also of Cosimo de Medici.
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After his death, Pontormo's work disappeared into oblivion for several centuries, not least because of the scathing criticism of his biographer Giorgio Vasari, and was only revalued in the 20th century through the work of the art historian Frederick Mortimer Clapp.
Jacopo Pontormo did not have an easy start in life, as he was an orphan at the age of ten. But this hard blow of fate did not prevent him from becoming a recognized member of the 16th century Florentine art scene. After the orphan had to stay with his grandmother at first, in 1508 he moved from his hometown near Empoli to the cultural centre of Italy in the 16th century: Florence. There he could learn from the best masters of his guild. Among others, he was a student of Leonardo da Vinci, Piero di Cosimo and Andrea del Sarto.
As was customary for the period, Pontormo mainly created frescoes, portraits and altarpieces. Sacral and spiritual motifs are at the centre of his creative power. Stylistically, he is to be categorized as a mannerist. The name of this style from the late Renaissance is the programme: it is based on the idea that an artist should not be limited in his activity by the guidelines of a certain school, but should develop and underline his very own style, his "maniera". In this way, this style deliberately sets itself apart from the geometrically calculated compositions of the Renaissance. The focus is no longer on the representation of classical simplicity and harmonious forms based on the antique model. These were replaced by a deliberately complex, overflowing and idealising style, often interspersed with enigmatic allegories that were only conclusive to initiated art connoisseurs.
Pontormo was one of this circle, who, in search of the manifestation of a very personal "maniera", liked to experiment with a refined colour effect. Characteristic of his style is the search for a refined elegance, which in his case is expressed in overlong limbs or artistic coils in the representation of human bodies. In this way, following historical sources, he even managed to be praised in high notes by Michelangelo himself and to be commissioned by the famous Medici family. Thus he produced numerous portraits in addition to numerous mystical and religious frescoes, such as the entombment of Christ, the archangel Gabriel or Joseph in Egypt. Among them also of Cosimo de Medici.
Br/>
After his death, Pontormo's work disappeared into oblivion for several centuries, not least because of the scathing criticism of his biographer Giorgio Vasari, and was only revalued in the 20th century through the work of the art historian Frederick Mortimer Clapp.
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