Italian 1494-1557 Jacopo Pontormo Galleries Italian painter and draughtsman. He was the leading painter in mid-16th-century Florence and one of the most original and extraordinary of Mannerist artists. His eccentric personality, solitary and slow working habits and capricious attitude towards his patrons are described by Vasari; his own diary, which covers the years 1554-6, further reveals a character with neurotic and secretive aspects. Pontormo enjoyed the protection of the Medici family throughout his career but, unlike Agnolo Bronzino and Giorgio Vasari, did not become court painter. His subjective portrait style did not lend itself to the state portrait. He produced few mythological works and after 1540 devoted himself almost exclusively to religious subjects. His drawings, mainly figure studies in red and black chalk, are among the highest expressions of the great Florentine tradition of draughtsmanship; close to 400 survive, forming arguably the most important body of drawings by a Mannerist painter. His highly personal style was much influenced by Michelangelo, though he also drew on northern art, primarily the prints of Albrecht Derer.  Related Paintings of Jacopo Pontormo :. | Madonna mit Johannes dem Taufer | Altargemalde der Capponi-Kapelle in Santa Felicita in Florenz | Portrat eines Musikers | Madonna and Child with | Joseph in Egypt |
Related Artists:
Lower Rhenish School
early fifteenth century
Biljert, Jan Hermansz. van
Dutch, approx. 1597-1671
Albert Lebourg
Montfort-sur-Risle 1849-Rouen 1928 French painter. He had an early interest in architecture and studied under the architect Drouin at the Ecole Municipale de Dessin in Rouen. He became increasingly interested in art and through Drouin met the landscape painter Victor Delamarre (1811-68) who advised and taught him. Giving up architecture altogether, he then attended the Ecole Municipale de Peinture et de Dessin in Rouen under Gustave Morin (1809-86). In 1871 he met the collector Laperlier through whom he obtained the post of professor of drawing at the Societe des Beaux-Arts in Algiers. He remained there from 1872 to 1877, producing works such as Street in Algiers (1875; Rouen, Mus. B.-A.). He also experimented with depicting a single site in a variety of different lights, in a manner similar to the late works of Monet. After giving up his teaching post in Algeria in 1877 he returned to Paris where he attended Jean-Paul Laurens's studio from 1878 to 1880. It was at this point that he became aware of Impressionism; later he became friendly with Degas, Monet and Sisley. He first exhibited at the Salon de la Societe des Artistes Franeais in 1883 and again in 1886,