Agnolo Bronzino il grande ritrattista dei Medici Arte a Palazzo

Lucrezia de' Medici (14 February 1545 - 21 April 1561) was a member of the House of Medici and by marriage Duchess consort of Ferrara, Modena and Reggio from 1558 to 1561. Married to the intended husband of her elder sister Maria, who died young, her marriage was short and unhappy. Lucrezia de' Medici was the daughter of Duke Cosimo I de' Medici, one of the ruling patriarchs in Florence. This portrait was created for Lucrezia's brother, Francesco, just before she left home to marry Alfonso II d'Este, in order to help her family make an alliance with Alfonso's family.

Agnolo Bronzino il grande ritrattista dei Medici Arte a Palazzo

MAGGIE O'FARRELL: (Reading) In 1560, 15-year-old Lucrezia de Cosimo de Medici left Florence to begin her married life with Alfonso II, d'Este Duke of Ferrara. Less than a year later, she would be. Lush metaphors and minute description of life in ducal palaces abound in her reimagining of the life of Lucrezia de' Medici, daughter of the Grand Duke of Florence, Cosimo I de' Medici,. 'Portrait of Lucrezia de' Medici' was created in 1560 by Agnolo Bronzino in Mannerism (Late Renaissance) style. Find more prominent pieces of portrait at Wikiart.org - best visual art database. In 1558, Lucrezia, daughter of Cosimo de' Medici, was married to Alfonso d'Este, the Duke of Ferrara. A year after entering her husband's court in 1560, aged just 16, she died. Poison was.

Portrait of Maria de' Medici BRONZINO, Agnolo Art Images Imagiva Renaissance Kunst, Die

Lucrezia de' Medici (1545-1561) 1560. Oil on panel. 32 1/2 x 24 3/4 in. (82.6 x 62.9 cm) Gift of Mrs. George Khuner. After the death of his father in 1540, Allori was adopted and trained by the artist Agnolo Bronzino, the preeminent Florentine portraitist of his day. The Marriage Portrait is Maggie O' Farrell's fictional interpretation of Lucrezia de Cosimo de Medici, who fights to survive her forced marriage with her abhorrent husband, Duke Alfonso II. In an. Portraits and fashion: Sandro Botticelli, Portrait of a Young Woman By Dr. Lane Eagles Sandro Botticelli, Portrait of a Young Woman, c. 1485, tempera on wood, 61 x 40.5 cm (Pitti Palace) Portraits and fashion NORTH CAROLINA MUSEUM OF ART 2110 Blue Ridge Road Raleigh, NC 27607 (919) 839-6262. Mailing address 4630 Mail Service Center Raleigh, NC 27699

Lucrezia à Ferrare Renaissance art, Lucrezia Historical art

Sex and Murder in Maggie O'Farrell's Overwrought Historical Drama "The Marriage Portrait" is the fictionalized story of the 16th-century Italian noblewoman Lucrezia di Cosimo de'Medici. 13 By. Lucrecia de' Medici (1545-1561) retrata a la quinta hija del duque Cosme I de Médicis y Eleonora de Toledo. En 1558, la familia de Lucrezia le arregló el matrimonio con Alfonso II d'Este, futuro duque de Ferrara. Este retrato fue pintado en 1560 para su hermano Francesco, antes de que Lucrecia dejara su casa para casarse. Lucrezia, tercera hija del gran duque Cosimo de' Medici y la española Leonor Álvarez de Toledo y Osorio, fue prometida con tan solo 13 años a Alfonso d'Este, primogénito del duque de. Lucrecia de Médici, ( Florencia, 14 de febrero de 1545 - Ferrara, 21 de abril de 1561), hija del II Duque de Florencia Cosme I de Médici y su esposa Leonor Álvarez de Toledo, hija del Virrey de Nápoles . Primeros años

El Libro Total. Retrato de Lucrezia de Medici

Cine Arte Música Teatro Oscar 2023 LIBROS Maggie O'Farrell resucita a la olvidada Lucrezia de Medici, asesinada a los 15 por su marido 'El retrato de casada' bucea en una de las dinastías más poderosas de todos los tiempos y en el lado más oscuro del Renacimiento La escritora irlandesa Maggie O'Farrell. / EP Leticia Blanco National Gallery of Art. [1] That there existed at least one, and probably two, painted panel portraits of Lucrezia Tornabuoni in the fifteenth century is verified by two documents: the inventory of Lorenzo de' Medici's possessions made at his death in 1492 includes mention of "Uno quadro di legname, dipintovi la 'mpronta di madonna Lucrezia" (Marco Spallanzani and Giovanni Gaeta Bertelà, eds.