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Fashioning Florence: Portraiture and Civic Identity in the Mid-Sixteenth Century Stephanie Ariela Kaplan Washington University in St

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Fashioning Florence: Portraiture and Civic Identity in the Mid-Sixteenth Century Stephanie Ariela Kaplan Washington University in St Washington University in St. Louis Washington University Open Scholarship Arts & Sciences Electronic Theses and Dissertations Arts & Sciences Spring 5-15-2018 Fashioning Florence: Portraiture and Civic Identity in the Mid-Sixteenth Century Stephanie Ariela Kaplan Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/art_sci_etds Part of the European Languages and Societies Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Kaplan, Stephanie Ariela, "Fashioning Florence: Portraiture and Civic Identity in the Mid-Sixteenth Century" (2018). Arts & Sciences Electronic Theses and Dissertations. 1545. https://openscholarship.wustl.edu/art_sci_etds/1545 This Dissertation is brought to you for free and open access by the Arts & Sciences at Washington University Open Scholarship. It has been accepted for inclusion in Arts & Sciences Electronic Theses and Dissertations by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Art History & Archaeology Dissertation Examination Committee: William E. Wallace, Chair Daniel Bornstein Roger Crum John Klein Nathaniel Jones Fashioning Florence: Portraiture and Civic Identity in the Mid-Sixteenth Century by Stephanie Ariela Kaplan A dissertation presented to The Graduate School of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2018 St. Louis, Missouri © 2018, Stephanie Ariela Kaplan Table of Contents List of Figures ................................................................................................................................ iv Acknowledgments........................................................................................................................... x Abstract of the Dissertation .......................................................................................................... xii Chapter 1: Fashioning Civic Identity in a Changing State ............................................................. 1 Chapter 2: Pontormo’s Portrait of Alessandro de’ Medici: “il Duce della Repubblica Fiorentina” ....................................................................................................................................................... 24 2.1 Introduction .................................................................................................................... 24 2.2 Florence in Crisis ........................................................................................................... 28 2.3 Florentine Portraiture ..................................................................................................... 36 2.4 Pontormo’s Imprecise Portraits ...................................................................................... 42 2.5 Literature Review ........................................................................................................... 52 2.6 Alessandro: An Enigmatic Portrait ................................................................................ 56 2.7 Painting Princes: The Ruler Portrait............................................................................... 60 2.8 Alessandro: “il Duce della Repubblica Fiorentina” ....................................................... 68 2.9 Alessandro Draws: An Act of Engagement ................................................................... 70 2.10 Conclusion ...................................................................................................................... 73 Chapter 3: Bronzino’s Portrait of Bartolomeo Panciatichi: Between France and Fiorentinità .. 76 3.1 Introduction .................................................................................................................... 76 3.2 Portrait of Bartolomeo Panciatichi................................................................................ 78 3.3 Bronzino and Hyper-Realistic Portraiture ...................................................................... 87 3.4 Bartolomeo Panciatichi: A Foreign Florentine?............................................................. 91 3.5 Bartolomeo Panciatichi: A Florentine .......................................................................... 101 3.6 Visible Fiorentinità ...................................................................................................... 106 3.7 A New Noble ................................................................................................................ 119 3.8 Conclusion .................................................................................................................... 121 Chapter 4: Baccio Bandinelli’s Bust of Cosimo I: How Pliny Inspired an Innovation in Florentine Sculpture ..................................................................................................................................... 124 4.1 A Novel Portrait Bust for a New Type of Ruler .......................................................... 124 4.2 Literature Review ......................................................................................................... 131 ii 4.3 Pliny on Portraiture ...................................................................................................... 138 4.4 Baccio Bandinelli: Sculptor-Draftsman to the Medici ................................................. 143 4.5 Bust of Cosimo I: Form and Material ........................................................................... 149 4.6 A Study for the Living ................................................................................................. 156 4.7 Bust of Duke Cosimo I: Content and Context .............................................................. 160 4.8 All’Antica Becomes All the Rage................................................................................. 167 4.9 Conclusion .................................................................................................................... 173 Conclusion .................................................................................................................................. 175 Bibliography ............................................................................................................................... 180 Figures......................................................................................................................................... 204 iii List of Figures Figure 1: Pontormo, Portrait of Alessandro de’ Medici, 1534-35, oil on panel, 101.3 x 81.9 cm. Philadelphia Museum of Art, Philadelphia……………………………………………..204 Figure 2: Pontormo, Alessandro de’ Medici, 1534-35, oil on panel, 35.3 x 25.8 cm. Art Institute of Chicago, Chicago.………………………………………………………………...….205 Figure 3: Andrea del Castagno, Portrait of a Man, c. 1450, tempera on panel, 55.5 x 41.2 cm. National Gallery of Art, Washington, D.C..…………………………...……………….206 Figure 4: Sandro Botticelli, Portrait of Giuliano de’ Medici, c. 1478-80, tempera on panel, 75.5 x 52.5 cm. National Gallery of Art, Washington, D.C.…………………………….…….207 Figure 5: Sandro Botticelli, Portrait of a Man with a Medal of Cosimo the Elder, c. 1474, tempera on panel, 57.5 x 44 cm. Galleria degli Uffizi, Florence..……………………...208 Figure 6: Leonardo da Vinci, Portrait of Ginevra de’ Benci, c. 1474-78, tempera on panel, 38.1 x 37 cm. Galleria degli Uffizi, Florence..………………………………………..……….209 Figure 7: Raphael, Portrait of Agnolo Doni, c. 1506, oil on panel, 63 x 45 cm. Galleria Palatina, Florence…………………………………………………………………………………210 Figure 8: Raphael, Portrait of Maddalena Doni, c. 1506, oil on panel, 63 x 45 cm. Galleria Palatina, Florence…………………………………………………………………….…210 Figure 9: Ridolfo Ghirlandaio, Portrait of a Gentleman, c. 1505, oil, probably with some tempera, on panel, later transferred to canvas, 68.2 x 49.2 cm. Art Institute of Chicago, Chicago……..…………………………………………………………………..………211 Figure 10: Giuliano Bugiardini, Portrait of Leonardo de’ Ginori, c. 1528, oil on panel, 62.9 x 47 cm. National Gallery of Art, Washington, D.C.……………………………………..…212 Figure 11: Pontormo, Portrait of a Goldsmith, c. 1517-18, oil on panel, 70 x 53 cm. Musée du Louvre, Paris……………………………………………………………………………213 Figure 12: Pontormo, The Visitation, c. 1528-29, oil on panel, 202 x 156 cm. Pieve di San Michele Arcangelo, Carmignano………………………………………………….……214 Figure 13: Pontormo, Youth in a Pink Coat, c. 1525, oil on panel, 85 x 61 cm. Museo Nazionale di Palazzo Mansi, Lucca……………………………………………………………..…215 Figure 14: Andrea del Sarto, Portait of a Woman with a Basket of Spindles, c. 1517, oil on panel, 76 x 54 cm. Galleria degli Uffizi, Florence…………………………………….………216 iv Figure 15: Andrea del Sarto, Portait of a Woman with a Petrarchino, c. 1528, oil on panel, 87 x 69 cm. Galleria degli Uffizi, Florence…………………………………….……………217 Figure 16: Pontormo, Maria Salviati with Giulia de’ Medici, c. 1537, oil on panel, 88 x 71.3 cm. The Walters Art Museum, Baltimore…………………………………………...………218 Figure 17: Pontormo, Maria Salviati, c. 1543, oil on panel, 87 x 71 cm. Galleria degli Uffizi, Florence…………………………………………………………………………………219 Figure 18: Pontormo, Maria Salviati with Giulia de’ Medici detail, oil on panel, 88 x 71.3 cm. The Walters Art Museum, Baltimore………………………...…………………………220 Figure 19: Bronzino, Portrait of Bia de’ Medici and detail, c. 1542, oil on panel, 63 x 48 cm. Galleria degli Uffizi, Florence………………………………………….………………221
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