‎Giovannetti Alessandra Forlani-Tempesti Anna‎
‎Pontormo‎

‎Pontormo at San Lorenzo. The Making and Meaning of a Lost Renaissance Masterpiece‎

‎, Brepols - Harvey Miller, 2022 Hardback, 384 pages, Size:225 x 300 mm, Illustrations:58 b/w, 90 col., 2 tables b/w., Language(s):English, Italian. ISBN 9781909400948.‎

‎Summary Pontormo's frescoes in San Lorenzo were the most important cycle of the sixteenth century after Michelangelo's Sistine frescoes.? They had an enormous impact on artists until their destruction in the eighteenth century, and their interpretation has also had a significant bearing not only on the reception of this artist, but also of late Renaissance art in Florence. Based on archival and historical research, this book determines a new date for the inception of the fresco cycle and reconstructs the day-by-day activity in the church that had an impact on Pontormo's project. ?It reveals Pontormo's painstaking working method. The new reconstruction corrects the visual order of the frescoed scenes, and conclusively demonstrates the orthodoxy of the choir's iconography.? It sets them into the artistic and architectural context of the church of San Lorenzo, relating them to works of art by Fra Bartolomeo and Michelangelo, as well as to complex liturgical and religious functions.? This study establishes the intentions of the Medici and the canons of the church in having Pontormo paint the specific space in the church where he painted, and the specific subjects that were included.? Finally, it reveals the unsuspected impact Pontormo's paintings had on other works of art. TABLE OF CONTENTS INTRODUCTION: The introduction explains the history and historiography of both Pontormo in general and this commission in particular. CHAPTER 1: LIFE AND DEATH IN THE CHOIR Can we re-imagine the day-to-day progress of the commission? Beginning with a re-dating of the project, I shall trace the practical realities of daily painting in the choir, the comings and goings of artists and people: the ?world? of the choir will be explored. The frequent trope of Pontormo as an isolated loner and painfully slow artist will be disproved. The close supervision of the major stakeholders for the project, the Duke and the church, will be demonstrated. CHAPTER 2: REVERSALS OF FORTUNE My discovery that Pontormo reversed his preliminary sketches when they were scaled up into full-scale cartoons has demonstrated that several of the extant drawings used to reconstruct the choir must be inverted. Adjusting the reconstruction to take this into account resolves issues of visual, thematic, and iconographic coherence which have perplexed scholars. Essential elements in my new reconstruction reveal new and unexpected functions and meanings for Pontormo's paintings. These functions and iconographical connections place the lost paintings in a new light in relation to the fabric of the church of San Lorenzo. CHAPTER 3: LAWRENCE'S ACTS and CHAPTER 4: CYCLES OF SALVATION In these two sections I explain the significance of the frescoes. The first chapter focuses on the end wall, which was the public view of the choir and on which Pontormo's painting of Saint Lawrence provided a personal message of salvation to viewers. The second of these two chapters explains the entire set of images. This is the first time a seamlessly cohesive and inclusive interpretation of the cycle has been found. The new textual associations supplied in these chapters establishe that far from being of questionable orthodoxy, Pontormo's frescoes were a brilliant encapsulation of the functions of the choir. CHAPTER 5: THEN AND NOW: PONTORMO'S PLACE IN HISTORY Vasari's comments about the San Lorenzo commission in the Life of Pontormo created a negative view. This chapter corrects that, and replaces it with an appreciation of the gigantic task he confronted, the brilliance of his solutions, and the positive reception he and his paintings received.‎

‎Pontormo.‎

‎Firenze, Edizioni d'Arte il Fiorino, 1964, in-4, bradel toile et jaquette éd., 322 pp., 20 planches de reproductions contrecollées en couleurs, 207 reproductions en noir, index. (GA30A) ‎

‎Jacopo Carrucci, dit le Pontormo, peintre italien, né à Pontormo (1494-v.1556), s'est brillamment inspiré de Michel-Ange et de Dürer. Texte en italien. ‎

‎Pontormo, Bronzino Allori. A Genealogy of Florentine Art‎

‎Pilliod, Elizabeth: Pontormo, Bronzino Allori. A Genealogy of Florentine Art. New Haven: 2001. 290pp with 20 colour plates and 20colour and 110 monochrome illustrations. Cloth. 29x22.5cms. Reassessment of the lives of the three artists and their association with 16th-century Florence, challenging Vasari's reception of them at the time.‎

‎Reassessment of the lives of the three artists and their association with 16th-century Florence, challenging Vasari's reception of them at the time. Text in English‎

‎Pontormo e Rosso Atti del Convegno di Empoli e Volterra. Progetto Appiani di Piombino‎

‎Ciardi, R. and A. Natali eds.: Pontormo e Rosso Atti del Convegno di Empoli e Volterra. Progetto Appiani di Piombino. Marsilio, 1996. 293 pages, over 200 illustrations in black & white. Wrappers. 29 x 22cms.‎

‎Mostra del Pontormo e del primo manierismo Fiorentino‎

‎Berti, Luciano et al: Mostra del Pontormo e del primo manierismo Fiorentino. Exhibition: Florence, Palazzo Strozzi, 1956. xx, 145pp with 166 illustrations on 128 plates. Wrappers. 22 x 16cms. Paintings catalogued by Luciano Berti, the drawings by Luisa Marcucci and the general Mannerists by U. Baldini. Text in Italian.‎

‎Paintings catalogued by Luciano Berti, the drawings by Luisa Marcucci and the general Mannerists by U. Baldini. Text in Italian‎