Word: pontormo
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...Yorkers can currently see from a loan show of its holdings at the Frick Collection). At least one museum, the Getty in Malibu, Calif., with its $3.5 billion endowment and almost limitless spending power, seems unaffected by the rise in price. In May it was able to buy Pontormo's Portrait of a Halberdier at Christie's for $35 million and last week Manet's acridly ironic view of a flag-bedecked Paris street with a war cripple hobbling along it for $26.4 million...
...vocation as a painter, in which his family encouraged him. He was a shy, insecure and aloof young man; if one did not know this from the testimony of his friends, one would gather it from his early self-portraits, with their veiled look of mannerist inwardness acquired from Pontormo. It seems he was unusually devoid of narcissism: unlike almost every other 19th century painter one has heard of, he gave up painting his own face at 31. It was the Other that fascinated him, all faces except...
...bequest from one of the greatest collectors of Italian drawings, Janos Scholz. What the library now offers is of almost unparalleled rarity, beginning with a black chalk study of devils-spiky, nervous and of an almost hallucinatory vigor-by the 15th century Artist Luca Signorelli, proceeding through works by Pontormo, Filippino Lippi, Dürer, Fragonard, Bruegel and Blake...
...masterpiece of the exhibition is easily Jacopo Pontormo's Annunciation. Rarely, in this country, has the troubling 16th century mannerist been represented by such an ethereal, yet commanding, picture. Looming above the onlooker, Pontormo's Angel Gabriel is shown as a dissipated Florentine gallant with an exquisite shell-pink ear, hennaed locks and a flattened head. As for the Virgin Mary, she is both innocent and sophisticated, a strangely languorous vessel of the Lord, whose fashionable lilac coif emits a greenish, phosphorescent glow...
...portrait is obviously a distinguished mannerist painting. It was bought by the St. Louis City Art Museum in 1943 as a Salviati (1510-63), then identified in 1951 as by Michele Tosini. But any number of other mid-16th century Italian painters have been mentioned as the artist, including Pontormo, Mirabello Cavalori, Jacopo del Conte and Vasari. At the moment, the museum displays it as attributed to Tosini, but no one is sure. Everyone agrees, however, that knowing who is portrayed in the picture would help. The painting's mood is mournful. It could be a posthumous portrait...