Art

Bronzino: Leonor de Toledo

Bronzino_Leonor
Bronzino: Leonor de Toledo, cap el 1545. Oli sobre taula. 115 x 96 cm. Galleria degli Uffizi, Florència. Encàrrec: possiblement, Leonor de Toledo.

Plantejament de preguntes

A Leonor de Toledo se la coneix com l’esposa de Cosme I de Mèdici. Com es crea la imatge d’«esposa de» i s’invisibilitza la de Leonor de Toledo? Quins elements fa servir Bronzino per a construir la imatge de Leonor, i quins farà servir per a construir la de Cosme I (proper quadre a analitzar)?

Per què es tria a un determinat pintor per a la realització d’un retrat «oficial»? I com el pintor s’adapta als interessos del comitent i posa les seves habilitats al servei d’aquests interessos? Podem, doncs, afirmar que un pintor té un determinat «estil» amb el qual pinta els diferents encàrrecs o més aviat construeix un determinat «estil» perquè és el que millor expressa i significa els encàrrecs que se li fan?

Fitxa tècnica

Es tracta d’un retrat que representa a Leonor de Toledo (1522-1562) amb el seu fill Giovanni de Mèdici. Tenia, aproximadament, uns 22 anys d’edat quan es va pintar aquest retrat. El 1539 la van casar amb Cosme I de Mèdici, duc de Florència. El nen que hi ha a la dreta de Leonor és el seu fill Giovanni de Mèdici d’uns dos anys. Mare i fill van morir el 1562 de malària.

El seu autor, Agnolo di Cosimo, anomenat Bronzino (potser pel color bru de la seva pell) esdevingué el pintor de la cort de la família Mèdici fins a la seva mort el 1572. Aquesta pintura, doncs, a l’igual que desenes de retrats i altres obres que Bronzino va pintar, era una pintura de i per als Mèdici. Pretén mostrar als membres de la família Mèdici com a dignes de confiança, rics i estables.

Descripció

Pel fet de tractar-se d’un retrat, prèviament a la seva anàlisi és convenient fer-ne una breu biografia.

Leonor de Toledo era filla de Don Pedro de Toledo, virrei de Nàpols, i de Doña Maria Pimentel, marquesa de Villafranca. Per interessos polítics i dinàstics fou casada amb Cosme I (el 28 gener del 1538 Leonor es va casar per poders amb el duc de Florència), i era conscient del seu origen familiar i de la seva posició al costat del seu marit. Es mostrava altiva pel seu estatus dinàstic i es passejava amb robes sumptuoses, envoltada de guàrdies i servents, cosa que no la feia massa estimada pels florentins. El duc li va atorgar plens poders perquè el representés durant els seus llargs viatges. El 1541 la va declarar regent.

Leonor estava molt pendent de la seva fortuna i el seu estatus. De fet, va ser una molt reeixida dona de negocis del Renaixement. Es dedicava als negocis més rendibles de la compra i venda de béns arrels, cases i finques agrícoles, amb la concessió de préstecs. També estava involucrada en activitats agrícoles de camps abandonats, devastats per la guerra o terres ermes en les zones fèrtils que venia o arrendava, traient-ne grans beneficis (les fonts històriques indiquen que el seu besnét gran duc Cosme III va continuar les seves activitats agrícoles amb gran èxit econòmic). En poc temps va acumular una riquesa considerable amb el comerç de blat de moro i altres productes alimentaris, com la venda de peix del llac Buriano que li va reportar molts diners. Va invertir en bons dels governs de Florència, Espanya i Nàpols mitjançant la compra dels dipòsits bancaris o ingressos fiscals.

Amb les seves donacions va contribuir a la prosperitat de les arts florentines i de l’educació superior. Va fundar el col·legi de Jesuïtes de Florència, sota la guia espiritual del pare Lainez i va començar la construcció d’un convent per a les esposes i filles dels Cavallers de Sant Stefano. Gràcies a ella va ser adquirit el palau Pitti, restaurat, redissenyat i redecorat en la forma que encara es pot admirar avui en dia. Gràcies als seus diners l’arquitecte Giorgio Vasari va poder començar la construcció del Palazzo degli Uffizi.

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En aquest retrat se’ns mostra a Leonor asseguda en un balcó amb un paisatge ple d’aigua a la seva esquerra, una reminiscència de la Mona Lisa. Tanmateix, la seva pàl·lida cara ovalada, mirada dura i rígid cosset ho contraresta. Recolza la mà a l’espatlla del seu fill i el motiu del seu vestit es refereix al seu paper com a mare. El nen en aquesta pintura ha estat identificat com Francisco, Garzia i Giovanni però com la pintura està datada cap el 1545 ara es pensa que ha de ser Giovanni, donada la seva edat en aquest moment. Destinat a fer carrera eclesiàstica –cardenal i, potser, papa–, Giovanni de Mèdici va ser pintat amb el front amb rínxols d’or, com a predestinat a fer grans coses.

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Anàlisis

La preocupació de Cosme I per la continuïtat dinàstica es fa palesa en les imatges d’ell mateix, de la seva família i dels seus avantpassats. Aquest retrat de Leonor i el seu fill Giovanni n’és un exemple típic. Es troba pràcticament presonera dins d’aquest ric vestit de brocat que porta, proclama, doncs, la seva posició social amb la dimensió de les joies i, a diferència de Cosme, mira directament l’espectador, però la textura d‘alabastre del rostre i la intensa il·luminació, la distancien del receptor. Possiblement Bronzino va prendre com a referent la Gioconda de Leonardo (per la posa, la forma de la cara i un lleuger somriure, el paisatge indeterminat del fons) tot i que aquí «Leonor és una representació simbòlica de l’Estat la continuïtat del qual està garantida per la seva progènie»[1].

Sovint és descrita, des del típic biaix patriarcal, d’esplèndida, sublim, però freda com el marbre i detestada pels seus súbdits que la consideraven superba i distant. Molt religiosa i concentrada en oracions del matí a la nit, i alhora amant dels jocs d’atzar i apostes (sobretot a les carreres de cavalls). Casada als 17 anys amb matrimoni de conveniència, fou una mare desafortunada pel destí tràgic que va afectar a gairebé tots els seus onze fills, amb els quals s’assegurava en teoria la successió i la possibilitat de combinar matrimonis amb altres importants cases regnants (van morir 1 en néixer, 1 als 5 mesos, 1 als 10 mesos, 3 de malària als 15, 17 i 19 anys, 1 de tisi, 1 estrangulada pel marit als 34 anys, 1 enverinat als 46 anys).

Bronzino, en aquest retrat de Leonor de Toledo en mostra, d’una banda, l’atractiu físic a través dels seus ulls en un rostre oval, de pell molt blanca, gràcia i elegància suprema, però també, d’una altra, el seu esperit i caràcter. Des de la seva arrogància i distanciament, és plenament conscient del seu origen gairebé reial (és la filla de l’acabalat i influent virrei espanyol de Nàpols) i que el seu matrimoni florentí, en general, no va ser un bon negoci: Cosme havia retornat feia poc al poder i tenia com a pare un simple condottiero. El gran negoci el va fer aquest Mèdici que, de sobte, es va trobar en possessió d’una immensa fortuna gràcies al dot de la seva esposa. Entre altres, va ser ella qui va fer comprar el Palau Pitti al banquer florentí Lucca Pitti el 1539 i va fer construir el que són els jardins Boboli, amb l’esperança de preservar la salut dels seus fills.

Bronzino retrata la noble espanyola amb el seu fill Giovanni a l’estiu del 1545 durant una estada a la villa dels Mèdici de Poggio a Caiano. Sembla que l’encàrrec el va fer la mateixa Leonor. Al seu darrere, un vast i indefinit paisatge que al·ludeix al seus dominis, encara que el motiu central de la pintura el constitueix la seva fertilitat. Quan Bronzino fa el retrat, ella ja era mare de quatre fills, hereus destinats a perpetuar el principat de Cosme. De peu al seu costat, Giovanni, nascut el 1543. L’elecció per representar el segon fill més que l’hereu al tron, Francesc, no és estranya, ja que en els plans de Cosme, Giovanni tenia un paper important en el manteniment del poder dels Mèdici, tant és així que Bronzino el va pintar de nadó, cosa força inusual[2].

En aquest retrat Bronzino subratlla sobretot amb una sèrie de detalls (manca de recolzabraços, posa, impressió d’estabilitat, efecte de proximitat i inaccessible monumentalitat), el rang i la dignitat de Leonor i el seu paper dinàstic com a mare dels fills de Cosme i exemple per als seus súbdits. Expressa tota l’elegància de la cort dels Mèdici a través d’una austera bellesa, la «naturalitat» i, al mateix temps, un aristocràtic esplendor. Una de les característiques dels retrats de Bronzino és representar als seus models amb plàcides expressions facials, que reflecteixen l’arrogància comuna entre la classe noble de Florència en aquest moment (molt diferent de les primeres dinasties de banquers florentins). Els rostres de la mare i el fill en aquest retrat, encara que una mica més expressiu que alguns dels retrats de Bronzino, són buits de qualsevol emoció real. Aquests retrats són expressions del seu dret diví a ser governants i Bronzino, amb la seva pintura, creu i fa creure en el poder que se’ls ha atorgat. Estan pintats amb detall meticulós i extremadament realista, però són com màscares, sense revelar res sobre els seus pensaments i sentiments. Es coneixen 5 versions d’aquesta imatge que, a més d’aquesta, es troben a l’Hermitage, a Detroit i dues en col·leccions privades.

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Un aspecte important del retrat de Bronzino, considerat com una imatge del poder, és la concentració obsessiva en el vestit de la duquessa, tema de la pintura tant com la mateixa Leonor i que l’artista pinta amb la lluminositat i el típic acabat esmaltat. La tela és més o menys un anunci publicitari sobre la represa de la indústria florentina de la seda, una important font de riquesa per a la ciutat, promoguda pel duc; sobre un fons de setí blanc es destaquen els grans motius de magrana en brocat d’or bouclé (un tipus de fil fet a base de bucles), una de les quals està encaixada com un emblema al centre del cosset. La magrana al·ludeix a la fertilitat, però també era un símbol de la unió conjugal, així com un emblema d’Espanya, i més concretament de l’esposa de Carles V (l’emperadriu Isabel, que va morir uns anys abans), senyor de Cosme per dret feudal. Els fruits estan envoltats d’arabescos de vellut negre, un motiu que recorda certes decoracions de l’Espanya musulmana; i en el vestit de Leonor hi ha altres elements d’espanyolisme: el cosset d’escot quadrat amb una xarxa sobre les espatlles daurada i adornat amb perles que combina amb la ret que recull els cabells, l’anomenada «còfia», i el tall de les mànigues que deixen entreveure els plecs d’una camisa de seda blanca.

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En aquest retrat oficial la duquessa llueix una joieria molt elaborada, que inclou les seves perles favorites: les arracades, i dos collars de perles, el més llarg va ser probablement un regal de noces del duc, i l’altre porta un penjant adornat amb un diamant i una perla, i una espectacular cinta d’or adornada amb pedres, potser realitzada segons un disseny de Cellini.

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Ubicació en els Uffizi

 Bibliografia

Brock, Maurice (2002). Bronzino. París. Flammarion. 360 pàgs.

Gáldy, Andrea M. (ed.) (2013). Agnolo Bronzino: Medici Court Artist in Context, Newcastle-upon-Tyne . Cambridge Scholars Publishing. 199 pàgs.

Strehlke, Carl Brandon (2004). Pontormo, Bronzino, and the Medici: The Transformation of the Renaissance Portrait in Florence. University Park . Pennsylvania State University Press. 184 pàgs.

Behind the Scenes of Bronzino’s Double Portrait of Eleonora di Toledo and Giovanni de’ Medici, https://www.youtube.com/watch?v=KN32FYkBX5o

Bronzino, Portrait of Eleonora di Toledo with her son Giovanni, 1544-1545, https://www.khanacademy.org/humanities/renaissance-reformation/mannerism1/v/bronzino-portrait-of-eleonora-di-toledo-with-her-son-giovanni-1544-1545

Among Rare Men: Bronzino and Homoerotic Culture at the Medici Court, https://www.youtube.com/watch?v=KJdaupuUzUw

Bronzino, Portrait of Eleonora di Toledo with her son Giovanni, 1544-1545, https://www.youtube.com/watch?v=fpgvjMKCyAA

Bronzino & the Mannerist Portrait, https://www.youtube.com/watch?v=4mpFcaeElCs

[1] Paoletti, John T. I Radke, Gary M. (2002). El arte en la Italia del Renacimiento. Tres Cantos. Akal. (Col. Akal/arte y estética). Pàg. 450.

[2] Veure, Bronzino: Giovanni de Mèdici com a nen, 1545. Oli sobre tela. 58 x 45,6 cm. Galleria degli Uffizi. Sala 18 La Tribuna.

Dr. Joan Campàs Montaner
jcampas@uoc.edu        Aura digital
Estudis d’Arts i Humanitats de la UOC

Materials del Curs L’art dels museus: els Uffizi
1. Desconstruint alguns mites del Renaixement
2. Les corts italianes: el context històric del Renaixement italià
3. Milà i el Renaixement: dels Visconti als Sforza
4. L’Urbino de Federico de Montefeltro
5. La Ferrara dels Este
6. La Màntua dels Gonzaga
7. El regne de Nàpols d’Alfons I
8. La Venècia dels dogo
9. Forència en el Renaixement: bases polítiques i econòmiques

10. Florència en el Renaixement: política i mecenatge
11. Els Mèdici, senyors de Florència
12. Giorgio Vasari: els Uffizi, 1560-1581
13. Maestro della Sant’Agata: Madonna de Pisa
14. Cimabue: Maestà di santa Trinità
15. Duccio: Palla Rucellai
16. Giotto: Madonna Ognissanti
17. Simone Martini: L’Anunciació
18. Gentile da Fabriano: Adoració dels mags
19. Lorenzo Monaco: La coronació de la marededéu
20. Fra Angèlic: Coronació de la marededéu
21. Paolo Uccello: La batalla de san Romano
22. Domenico Veneziano: Sacra conversazione
23. Piero della Francesca: Díptic del duc d’Urbino
24. Filippo Lippi: Coronació de la marededéu
25. Hugo van der Goes: Tríptic Portinari
26. Sandro Botticelli: Judit
27. Sandro Botticelli: L’adoració dels mags
28. Sandro Botticelli: La marededéu del magníficat
29. Sandro Botticelli: El naixement de Venus
30. Sandro Botticelli: Al·legoria de la primavera
31. Sandro Botticelli: Minerva i el centaure
32. Sandro Botticelli: L’anunciació Cestello
33. Sandro Botticelli: La calúmnia d’Apel·les
34. Leonardo da Vinci: L’anunciació
35. Leonardo da Vinci: Adoració dels reis
36. Giovanni Bellini: Al·legoria sacra
37. Miquel Àngel: Tondo Doni
38. Rafael: Madonna del cardellino
39. Ticià: La venus d’Urbino
40. Parmigianino: La maredéu del coll llarg
41. Bronzino: Leonor de Toledo

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  50. Between me and my husband we’ve owned more MP3 players over the years than I can count, including Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, etc. But, the last few years I’ve settled down to one line of players. Why? Because I was happy to discover how well-designed and fun to use the underappreciated (and widely mocked) Zunes are.

  51. Between me and my husband we’ve owned more MP3 players over the years than I can count, including Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, etc. But, the last few years I’ve settled down to one line of players. Why? Because I was happy to discover how well-designed and fun to use the underappreciated (and widely mocked) Zunes are.

  52. I’ll gear this review to 2 types of people: current Zune owners who are considering an upgrade, and people trying to decide between a Zune and an iPod. (There are other players worth considering out there, like the Sony Walkman X, but I hope this gives you enough info to make an informed decision of the Zune vs players other than the iPod line as well.)

  53. The Zune concentrates on being a Portable Media Player. Not a web browser. Not a game machine. Maybe in the future it’ll do even better in those areas, but for now it’s a fantastic way to organize and listen to your music and videos, and is without peer in that regard. The iPod’s strengths are its web browsing and apps. If those sound more compelling, perhaps it is your best choice.

  54. Zune and iPod: Most people compare the Zune to the Touch, but after seeing how slim and surprisingly small and light it is, I consider it to be a rather unique hybrid that combines qualities of both the Touch and the Nano. It’s very colorful and lovely OLED screen is slightly smaller than the touch screen, but the player itself feels quite a bit smaller and lighter. It weighs about 2/3 as much, and is noticeably smaller in width and height, while being just a hair thicker.

  55. I’ll gear this review to 2 types of people: current Zune owners who are considering an upgrade, and people trying to decide between a Zune and an iPod. (There are other players worth considering out there, like the Sony Walkman X, but I hope this gives you enough info to make an informed decision of the Zune vs players other than the iPod line as well.)

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  93. The Zune concentrates on being a Portable Media Player. Not a web browser. Not a game machine. Maybe in the future it’ll do even better in those areas, but for now it’s a fantastic way to organize and listen to your music and videos, and is without peer in that regard. The iPod’s strengths are its web browsing and apps. If those sound more compelling, perhaps it is your best choice.

  94. The Zune concentrates on being a Portable Media Player. Not a web browser. Not a game machine. Maybe in the future it’ll do even better in those areas, but for now it’s a fantastic way to organize and listen to your music and videos, and is without peer in that regard. The iPod’s strengths are its web browsing and apps. If those sound more compelling, perhaps it is your best choice.

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  113. The new Zune browser is surprisingly good, but not as good as the iPod’s. It works well, but isn’t as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that’s not an issue, but if you’re planning to browse the web alot from your PMP then the iPod’s larger screen and better browser may be important.

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  125. Zune and iPod: Most people compare the Zune to the Touch, but after seeing how slim and surprisingly small and light it is, I consider it to be a rather unique hybrid that combines qualities of both the Touch and the Nano. It’s very colorful and lovely OLED screen is slightly smaller than the touch screen, but the player itself feels quite a bit smaller and lighter. It weighs about 2/3 as much, and is noticeably smaller in width and height, while being just a hair thicker.

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  148. Sorry for the huge review, but I’m really loving the new Zune, and hope this, as well as the excellent reviews some other people have written, will help you decide if it’s the right choice for you.

  149. If you’re still on the fence: grab your favorite earphones, head down to a Best Buy and ask to plug them into a Zune then an iPod and see which one sounds better to you, and which interface makes you smile more. Then you’ll know which is right for you.

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  158. Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass’ favor.

  159. The new Zune browser is surprisingly good, but not as good as the iPod’s. It works well, but isn’t as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that’s not an issue, but if you’re planning to browse the web alot from your PMP then the iPod’s larger screen and better browser may be important.

  160. Zune and iPod: Most people compare the Zune to the Touch, but after seeing how slim and surprisingly small and light it is, I consider it to be a rather unique hybrid that combines qualities of both the Touch and the Nano. It’s very colorful and lovely OLED screen is slightly smaller than the touch screen, but the player itself feels quite a bit smaller and lighter. It weighs about 2/3 as much, and is noticeably smaller in width and height, while being just a hair thicker.

  161. This is getting a bit more subjective, but I much prefer the Zune Marketplace. The interface is colorful, has more flair, and some cool features like ‘Mixview’ that let you quickly see related albums, songs, or other users related to what you’re listening to. Clicking on one of those will center on that item, and another set of “neighbors” will come into view, allowing you to navigate around exploring by similar artists, songs, or users. Speaking of users, the Zune “Social” is also great fun, letting you find others with shared tastes and becoming friends with them. You then can listen to a playlist created based on an amalgamation of what all your friends are listening to, which is also enjoyable. Those concerned with privacy will be relieved to know you can prevent the public from seeing your personal listening habits if you so choose.

  162. I’ll gear this review to 2 types of people: current Zune owners who are considering an upgrade, and people trying to decide between a Zune and an iPod. (There are other players worth considering out there, like the Sony Walkman X, but I hope this gives you enough info to make an informed decision of the Zune vs players other than the iPod line as well.)

  163. The new Zune browser is surprisingly good, but not as good as the iPod’s. It works well, but isn’t as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that’s not an issue, but if you’re planning to browse the web alot from your PMP then the iPod’s larger screen and better browser may be important.

  164. Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass’ favor.

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  181. Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass’ favor.

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  185. Zune and iPod: Most people compare the Zune to the Touch, but after seeing how slim and surprisingly small and light it is, I consider it to be a rather unique hybrid that combines qualities of both the Touch and the Nano. It’s very colorful and lovely OLED screen is slightly smaller than the touch screen, but the player itself feels quite a bit smaller and lighter. It weighs about 2/3 as much, and is noticeably smaller in width and height, while being just a hair thicker.

  186. This is getting a bit more subjective, but I much prefer the Zune Marketplace. The interface is colorful, has more flair, and some cool features like ‘Mixview’ that let you quickly see related albums, songs, or other users related to what you’re listening to. Clicking on one of those will center on that item, and another set of “neighbors” will come into view, allowing you to navigate around exploring by similar artists, songs, or users. Speaking of users, the Zune “Social” is also great fun, letting you find others with shared tastes and becoming friends with them. You then can listen to a playlist created based on an amalgamation of what all your friends are listening to, which is also enjoyable. Those concerned with privacy will be relieved to know you can prevent the public from seeing your personal listening habits if you so choose.

  187. If you’re still on the fence: grab your favorite earphones, head down to a Best Buy and ask to plug them into a Zune then an iPod and see which one sounds better to you, and which interface makes you smile more. Then you’ll know which is right for you.

  188. The new Zune browser is surprisingly good, but not as good as the iPod’s. It works well, but isn’t as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that’s not an issue, but if you’re planning to browse the web alot from your PMP then the iPod’s larger screen and better browser may be important.

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