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 Eleanor of Toledo and Her Son | Portrait of a Lady | The composures frescos in the chapel of the Eleonora of Toledo | Noli Me Tangere (mk05) | An Allegory |
Related Artists:
Mulhaupt, Frederick John
American, 1871-1938
Otto Bache
1739-1927
Fedor Rokotov
Russian Painter, ca.1735-1808 Fyodor Stepanovich Rokotov (Fedor Rokotov) (Russian: ?????????? ??????????́?????????? ????́??????????) (1736?C1809) was a distinguished Russian painter who specialized in portraits. Fyodor Rokotov was born into a family of peasant serfs, belonging to the Repnins. Much in his biography is obscure. He studied art in Saint Petersburg Academy of Arts. After buying back his freedom in the end of 1750s he became established as a fashionable painter. In 1765, Rokotov was elected an Academician, but he did not work as a professor in the Academy long, because it interfered with his painting. He returned to Moscow in 1765, where he lived for the rest of his life. He had a lot of commissions there, becoming one of the best portrait painters of his time. Among his best-known portraits are Portrait of Alexandra Struyskaya (1772), sometimes called the Russian Mona Lisa and admittedly the most celebrated piece of the 18th-century Russian painting; Portrait of Countess Elisabeth Santi (1785), and Lady in a Pink Dress (1770s, illustration, right). Rokotov avoided painting formal portraits with lots of adornments and decorations. Instead he was one of the first Russian painters advancing a psychological portrait with attention to optical and atmospheric effects.