Italian Mannerist Painter, 1503-1572 Agnolo di Cosimo (November 17, 1503 ?C November 23,1572), usually known as Il Bronzino, or Agnolo Bronzino (mistaken attempts also have been made in the past to assert his name was Agnolo Tori and even Angelo (Agnolo) Allori), was an Italian Mannerist painter from Florence. The origin of his nickname, Bronzino is unknown, but could derive from his dark complexion, or from that he gave many of his portrait subjects. It has been claimed by some that he had dark skin as a symptom of Addison disease, a condition which affects the adrenal glands and often causes excessive pigmentation of the skin.  Related Paintings of Agnolo Bronzino :. | Portrait of a Lady | Eleonora of Toledo and her Son Giovanni (mk08) | Ugolino Martelli (mk45) | Eleonora of Toledo and her Son Giovanni | Portrait d'un sculpteur on d'un jeune amateur |
Related Artists:
Lippo Memmi
active in Tuscany 1317-1347
Ecce Homo
are the Latin words used by Pontius Pilate in the Vulgate translation of the John 19:5, when he presents a scourged Jesus Christ, bound and crowned with thorns, to a hostile crowd shortly before his Crucifixion. The King James Version translates the phrase into English as Behold the Man. The scene is widely depicted in Christian art. The Ecce homo is a standard component of cycles illustrating the Passion and Life of Christ in art. It follows the Flagellation of Christ, the Crowning with thorns and the Mocking of Christ, the last two often being combined. The usual depiction shows Pilate and Christ, the mocking crowd and parts of the city of Jerusalem. But, from the 15th century, devotional pictures began to portray Jesus alone, in half or full figure with a purple robe, loincloth, crown of thorns and torture wounds, especially on his head. Similar subjects but with the wounds of the crucifixion visible (Nail wounds on the limbs, spear wounds on the sides), are termed a Man of Sorrow(s) (also Misericordia). If the "Instruments of the Passion" are present, it may be called an Arma Christi. If Christ is sitting down (usually supporting himself with his hand on his thigh), it may be referred to it as Christ at rest or Pensive Christ. It is not always possible to distinguish these subjects.
Jose Ferraz de Almeida Junior
(8 May 1850 - 13 November 1899) was a Brazilian painter of the 19th century. He is widely regarded as the most important Brazilian realist painter of the 19th century, and a major inspiration for the modernist painters. While most Brazilian academic artists made their fame painting mythological or historical subjects, Almeida Junior would become popular for painting rural figures, especially farmers and the caipira violeiro , the countrymen that are a kind of a symbol of the rural areas of the São Paulo state. While most realist painters used farmers and countrymen as an allegory of workers, Almeida Junior would paint his caipiras mostly on leisure time. He would also produce touching images of upscale landowners. The Bandeirantes, the ruthless explorers of colonial Brazil, would be depicted in the A partida da monção, showing an expedition on the Tiete River. Almeida Junior was born in the city of Itu, then a small town in the state of São Paulo. After becoming a sensation in his town he would be invited to study in the Brazilian Imperial Fine Arts Academy of Rio de Janeiro, but in 1876 would study in France after being granted a scholarship by emperor Pedro II of Brazil in person in the city of Moji-Mirim. He would have Alexandre Cabanel as one of his masters. In 1877 he was already enrolled in the School of Fine Arts in Paris. He took part at the Salon de Paris with several works of art in 1879 (Retrato do Dr. Jose de Magalhães), 1880 (O Derrubador Brasileiro) and (Remorso de Judas), 1881 (Fuga para o Egito) and 1882 (Descanso do Modelo) He admired the French realist and naturalist painting (a major influence at his work), and, after returning to Brazil in 1882, became of the leading names in Brazilian realist painting. He was stabbed to death by the husband of his mistress on November 13, 1899 in Piracicaba.