By Elizabeth Cropper
Pontormo’s Halberdier has lengthy been debatable. How did students come to spot the sitter as Duke Cosimo de’ Medici and why is that this open to doubt? Who was once Francesco Guardi? What used to be the siege of Florence, and will Pontormo have made this compelling portrait in the course of that point of deprivation and political tumult? In a desirable piece of old detective paintings, Elizabeth Cropper investigates those questions and uncovers new proof for interpretation. She additionally analyzes the portrait’s courting to different works through Pontormo, explores the significance for Pontormo of Donatello, Michelangelo, and Andrea del Sarto, and appears into Bronzino’s reference to the portrait. Pontormo: Portrait of a Halberdier is a part of the Getty Museum stories on paintings sequence, that is designed to introduce person artistic endeavors or small teams of similar works to a extensive public with an curiosity within the background of paintings. every one monograph is written by way of a number one student and contours a detailed dialogue of its topic in addition to a close research of the wider ancient and cultural context within which the paintings was once created. desk of Contents advent A Portrait of Duke Cosimo while He used to be younger? A Portrait of Francesco Guardi? Afterword Notes Bibliography family tree of the Guardi relations Acknowledgments in regards to the writer Elizabeth Cropper is professor of artwork heritage at John Hopkins college. She has additionally been Slade Professor of artwork at Cambridge college and Andrew W. Mellon Professor on the middle for complicated research within the visible Arts on the nationwide Gallery in Washington, D.C. She lately coauthored, with Charles Dempsey, Nicolas Poussin: Friendship and the affection of portray.
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68 This infamy would account for the removal of the picture to a country church, and Vasari's silence. Yet Vasari may not have mentioned the picture simply because Bronzino, his best source on Pontormo, did not know about it either. Pontormo may have painted the altarpiece outside the city before the actual onset of the siege (we should recall his predilection for the peace of the Certosa here); or (and this is less likely) he may have completed it soon after, during the interim between 1530 and 1532 when Bronzino was in Pesaro.
36 Such attacks on the pope's character and ancestry by the notoriously critical Florentines, who called him not "Papa Clemente" but Papa chi mente (pope who lies) enraged Clement as much as the destruction and seizure of his property. He wanted Florence back at all costs and promised to pay the emperor handsomely out of Florence's riches for delivering it. Almost every moment in the siege of Florence is documented. Local government recorded its deliberations; and diplomats were in regular correspondence with their courts, whether written openly in Italian or in invisible ink or cypher.
55 The purchase indicates that Pontormo remained in Florence during the war, but we otherwise know little indeed about his experiences. In examining how some of his contemporaries comported themselves during the siege, however, we may come to see that the loyalties of artists were as varied as those of the population at large. A R T I S T S AND THE WAR • The sculptor Baccio Bandinelli, who took flight for the security of Lucca on the expulsion of the Medici, stands at one extreme as a Medicean creature who would prosper by the fall of the republic.