17 Works, Today, May 24th. is Pontormo's day, his story, illustrated with footnotes #142

Pontormo  (1494–1557)

Adoration of the Magi, c. 1522-1523

Oil on panel

Height: 85 cm (33.4 in); Width: 190 cm (74.8 in)

Galleria Palatina 

The Adoration of the Magi (anglicized from the Matthean Vulgate Latin section title: A Magis adoratur) is the name traditionally given to the subject in the Nativity of Jesus in art in which the three Magi, represented as kings, especially in the West, having found Jesus by following a star, lay before him gifts of gold, frankincense, and myrrh, and worship him. The Adoration of the Magi

The work's landscape, crowds and grotesques evoke contemporary North European prints by artists such as Lucas van Leyden and Dürer, then circulating as far as Florence and beyond. Unusually for an Adoration of the Magi, the work shows saint Anne (behind the Virgin Mary). She and the image of the Verzaia Monastery in the right background recall the annual procession from Orsanmichele to that monastery on Anne's feast day (26 July). More on this painting

Jacopo Carucci (May 24, 1494 – January 2, 1557), usually known as Jacopo da Pontormo, Jacopo Pontormo or simply Pontormo, was an Italian Mannerist painter and portraitist from the Florentine School. His work represents a profound stylistic shift from the calm perspectival regularity that characterized the art of the Florentine Renaissance. He is famous for his use of twining poses, coupled with ambiguous perspective; his figures often seem to float in an uncertain environment, unhampered by the forces of gravity.

Pontormo  (1494–1557)

Noli Me Tangere, c. 1530s

Oil on wood

Height: 125 cm (49.2 in); Width: 95 cm (37.4 in)

Private collection

The picture shows the scene in the New Testament (Joh. 20, 17), according to which St. Magdalena meets the risen Jesus, addressed by him with the words "noli me tangere" (do not touch me). In the representation, Jesus is obviously about to move on to the right, turning around towards the young Magdalena and trying to keep her from touching him with a gentle wave of the hand. Magdalena approaches from the left, her upper body tilted slightly forward, both arms spread out almost in a slightly inclined axis, her face seeks the gaze of Jesus. The background is indicated on the left by the green of a hill, on the right behind the city of Jerusalem can be seen with the temple dome, palace buildings and towers. More on this painting

Jacopo Carucci was born at Pontorme, near Empoli, to Bartolomeo di Jacopo di Martino Carrucci and Alessandra di Pasquale di Zanobi. Vasari relates how the orphaned boy, "young, melancholy and lonely", was shuttled around as a young apprentice:

Pontormo  (1494–1557)

Gone to Calvary, c. 1523-1525

Height: 300.0 cm; Width: 292.0 cm

detached fresco

Charterhouse of Florence, Tuscany , Italy

The Gone to Calvary is a detached fresco by Pontormo, and preserved in the Certosa del Galluzzo near Florence . With the other four lunettes of the cycle of the Stories of the Passion he decorated the cloister of the Certosa; today they are all detached and preserved in a closed environment of the monastery.

The first task that was entrusted to him was to fresco some lunettes in the cloister with scenes from the Passion of Christ, five in all. The works, inspired more or less directly to the woodcuts of the Small Passion of Dürer. 

The lunettes, badly damaged by outdoor exposure, were detached in the twentieth century and placed inside the monastery, in a room of the so-called "Palazzo Acciaiuoli".

The scene focuses on the episode of Veronica handing the shroud to Christ. The number and variety of the poses of the characters give the whole a dynamic and lively aspect, where gestures, glances, ladders and rods intersect, splitting the procession that includes the condemned, the accusers, the warriors and the simple curious.

In the background, on the hill to the right, is the group of mourners, which presents an intense drama of Nordic flavor. Mary, in particular, and John, the beloved apostle, show their deep despair, putting their hand to their eyes to wipe away the copious tears.

In general the Nordic influences are manifested in the elongated profiles and in the clothing of the characters, as well as in the dramatic sense of the events. More on this painting

Jacopo had not been many months in Florence before Bernardo Vettori sent him to stay with Leonardo da Vinci, and then with Mariotto Albertinelli, Piero di Cosimo, and finally, in 1512, with Andrea del Sarto, with whom he did not remain long, for after he had done the cartoons for the arch of the Servites, it does not seem that Andrea bore him any good will, whatever the cause may have been.

Pontormo  (1494–1557)

MARCUS CURTIUS LEAPING INTO THE ABYSS

oil on panel

21 7/8  by 44 7/8  in.; 55.6 by 114 cm.

Private collection

 According to Livy’s History of Rome, an earthquake of great seismic force had opened an immeasurable crevasse in the ground at the Forum at Rome.  Unable to fill its incalculable depth, the citizens of Rome sought the counsel of soothsayers who declared they must sacrifice to the abyss the greatest treasure of the Roman People:

“Thereupon Marcus Curtius, a young soldier of great prowess, rebuked them, so the story runs, for questioning whether any blessing were more Roman than arms and valor.  A hush ensued as he turned to the temples of the immortal gods which rise above the Forum, and to the Capitol, and stretching forth his hands, now to heaven, now to the yawning chasm and to the gods below, he devoted himself to death.  After which, mounted on a horse caparisoned with all possible splendor, he plunged fully armed into the gulf.” More on Marcus Curtius

Pontormo painted in and around Florence, often supported by Medici patronage. A foray to Rome, largely to see Michelangelo's work, influenced his later style. Haunted faces and elongated bodies are characteristic of his work. An example of Pontormo's early style is a fresco depicting the Visitation of the Virgin (See below) and St Elizabeth, with its dancelike, balanced figures, painted from 1514 to 1516.

Pontormo  (1494–1557)

The Visitation, c. 1514-1516

Fresco

Height: 392 cm (12.8 ft); Width: 337 cm (11 ft)

Santa Annunziata

The Visitation. Mary visits her relative Elizabeth; they are both pregnant. Mary is pregnant with Jesus and Elizabeth is pregnant with John the Baptist. Elizabeth was in the sixth month before Mary came. Mary stayed three months, and most scholars hold she stayed for the birth of John. The apparition of the angel, mentioned in Matthew, may have taken place then to end the tormenting doubts of Joseph regarding Mary's maternity.

In Catholicism, it is held that the purpose of this visit was to bring divine grace to both Elizabeth and her unborn child. Even though he was still in his mother's womb, John became aware of the presence of Christ, and leapt for joy as he was cleansed from original sin and filled with divine grace. Elizabeth also responded and recognised the presence of Jesus, and thus Mary exercised her function as mediatrix between God and man for the first time. More on The Visitation

Pontormo  (1494–1557)

Visitation of Carmignano, c. 1528

Oil and board 

Height: 202 cm (79.5 in); Width: 156 cm (61.4 in)

Rectory of Saints Michael and Francis 

This early Visitation makes an interesting comparison with his painting of the same subject which was done about a decade later (See above). Placing these two pictures together, throws Pontormo's artistic development into sharp relief. In the earlier work, Pontormo is much closer in style to his teacher, Andrea del Sarto, and to the early sixteenth century renaissance artistic principles. For example, the figures stand at just under half the height of the overall picture, and though a bit more crowded than true high renaissance balance would prefer, at least are placed in a classicizing architectural setting at a comfortable distance from the viewer. 

 Jacopo da Pontormo (Jacopo Carucci) (Italian, Pontormo 1494–1556 Florence)

Virgin and Child with Saint Elizabeth, the Infant Baptist, Saint Anthony of Padua, and a Female Martyr, c.  1514–22

Red chalk, brush and red wash

10 13/16 x 11in. (27.5 x 27.9cm)

The Metropolitan Museum of Art

Saint Elizabeth of Hungary, T.O.S.F. ( 7 July 1207 – 17 November 1231), also known as Saint Elizabeth of Thuringia, was a princess of the Kingdom of Hungary, Landgravine of Thuringia, Germany, and a greatly venerated Catholic saint who was an early member of the Third Order of St. Francis, by which she is honored as its patroness. Elizabeth was married at the age of 14, and widowed at 20. After her husband's death she sent her children away and regained her dowry, using the money to build a hospital where she herself served the sick. She became a symbol of Christian charity after her death at the age of 24 and was quickly canonized. More on Saint Elizabeth of Hungary

Saint Anthony of Padua (Portuguese: Santo António), born Fernando Martins de Bulhões (1195 – 13 June 1231), also known as Anthony of Lisbon, was a Portuguese Catholic priest and friar of the Franciscan Order. He was born and raised by a wealthy family in Lisbon, Portugal, and died in Padua, Italy. Noted by his contemporaries for his forceful preaching, expert knowledge of scripture, and undying love and devotion to the poor and the sick, he was the second-most-quickly canonized saint after Peter of Verona. He was proclaimed a Doctor of the Church on 16 January 1946. He is also the patron saint of lost things. More on Saint Anthony of Padua

This drawing can be dated in the period between Pontormo's ‘Madonna of San Ruffilo’ fresco at the Santissima Annunziata (1514), and the ‘Adoration of the Magi’ panel in the Palazzo Pitti (1520-22), thus early in the master's career. Pontormo's drawings, mainly figure studies in red chalk or black chalk, are among the highest expressions in the tradition of Florentine design. His early drawing style, particularly his preference for red chalk, shows the influence of his master, Andrea del Sarto (1486-1530). The early fortune of this extraordinary drawing is recorded by a copy now in the Musée du Louvre, Paris (inv. 1991) made by the Late Renaissance painter and draftsman from Siena Francesco Vanni (1563-1610). More on this painting

In the later work, the viewer is brought almost uncomfortably close to the Virgin and St. Elizabeth, who drift toward each other in clouds of drapery. Moreover, the clear architectural setting that is carefully constructed in earlier piece has been completely abandoned in favor of a peculiar nondescript urban setting.

The following pictures tell the story of Joseph from the Old Testament. Joseph was his father’s favourite son and had been given a coat of many colours by him. His jealous half-brothers sold Joseph to a caravan of Ishmaelite merchants taking perfumes and spices to Egypt. The brothers smeared Joseph’s coat with goat blood and told their father that he was dead.

Pontormo, 1494 - 1556/7

Joseph sold to Potiphar, c. about 1515

Oil on wood

61 x 51.6 cm

National Gallery, London

This scene shows Joseph (the central young boy in yellow) standing before his new master, Potiphar, the captain of Pharaoh’s guard, to whom he has just been sold. The Ishmaelites are grappling for their payment on the left. One of them bends over, his back to the viewer and his head between his legs, to pick up a coin from the ground. More on this painting

Joseph sold to Potiphar by Pontormo (Above) shows Joseph standing before his new master, Potiphar, the captain of the Egyptian Pharaoh’s guard. Joseph became overseer of Potiphar’s household. However, after he refused the sexual advances of Potiphar’s wife and she falsely accused him of rape, he was thrown into jail. There Joseph interpreted the dreams of Pharaoh’s butler and baker. As Joseph predicted, Pharaoh spared the butler but had the baker killed.

Pontormo, 1494 - 1556/7

Pharaoh with his Butler and Baker, c. about 1515

Oil on wood

61 x 51.7 cm

National Gallery, London

When in prison Joseph interpreted the dreams of Pharaoh’s butler and baker, who had been imprisoned for offending him. Joseph foresaw that the butler would be reinstated but the baker would be hanged. Here the baker is taken from prison (top right) and led to execution (right), while the butler is shown descending the staircase and serving Pharaoh (bottom left). More on this painting

Two years later, Pharoah had a mysterious dream that none of his advisers could understand. Joseph explained that Pharaoh’s dream of seven fat cows followed by seven thin cows meant that seven years of plenty would be followed by seven years of famine, and he advised Pharaoh to stockpile grain. Pharaoh made Joseph his vizier, the second most powerful man in Egypt.

Pontormo, 1494 - 1556/7

Joseph's Brothers beg for Help, c. 1515

Oil on wood

36.3 x 142.5 cm

National Gallery, London

In this episode, the brothers arrive from Canaan (Palestine) to beg for help in the second year of famine. Not recognising their long-lost brother, the brothers prostrate themselves before Joseph, who is now Pharaoh’s overseer and sits in command on a classical triumphal chariot. On the right, grain is distributed from Pharaoh’s stores. More on this painting

Having travelled from Canaan to Egypt in the second year of the famine, Joseph’s brothers beg for help, but they do not recognise their long-lost brother. Joseph accuses his half-brothers of spying and demands that they bring their younger brother to Egypt to prove their honesty. 

Pontormo, 1494 - 1556/7

Joseph receives his Brothers on their Second Visit to Egypt, c. probably 1515

Oil on wood

36.2 x 142.2 cm

National Gallery, London

In this painting, they return to Egypt with their youngest brother, Benjamin – the little boy wearing blue – and gifts from their father. They present the gifts to Joseph in the centre, still not realising he is the brother they sold. Joseph sends them back home with a precious cup hidden in Benjamin’s sack. The outline of the cup is visible below Benjamin’s hand. More on this painting

In Joseph receives his Brothers on their Second Visit  to Egypt by Bacchiacca (Above) the brothers return to Egypt with their youngest brother, Benjamin; Joseph sends the brothers home but hides a cup in Benjamin’s sack. In Joseph pardons his Brothers, also by Bacchiacca, the brothers are brought back to Joseph, with Benjamin a prisoner. Joseph threatens to enslave Benjamin, but when his brother Judah offers to take Benjamin’s place, Joseph reveals his true identity. 

Pontormo, 1494 - 1556/7

Joseph pardons his Brothers, c. probably 1515

Oil on wood

36.2 x 141.6 cm

National Gallery, London

In this painting, which depicts three different moments in the story as a continuous narrative, the brothers are brought to Joseph, with Benjamin a prisoner. They beg for Joseph’s mercy; he reveals his true identity and forgives them. More on this painting

He forgives his brothers for selling him into slavery. In the last painting of the series, Joseph with Jacob in Egypt, the stories of Joseph and his father are combined as four scenes in a continuous narrative. The story ends with the elderly Jacob on his deathbed blessing Joseph’s sons.

Pontormo  (1494–1557)

Joseph with Jacob in Egypt, c. 1517-1518

Oil on canvas

Height: 96 cm (37.7 in); Width: 109 cm (42.9 in)

National Gallery, London

In this picture (which may not have been part of the original commission) the concluding episodes of the story of Joseph and Jacob are ingeniously condensed. There are four separate moments combined here: Joseph introducing his father Jacob to the Pharaoh of Egypt; Joseph on a chariot, hearing a petition from the victims of famine; Joseph with his sons climbing the staircase to visit the dying Jacob; and Jacob blessing Joseph’s sons.

This type of picture, in which several parts of a story are shown simultaneously, is known as a continuous narrative and was particularly popular for furniture decoration. More on this painting

Two half-living statues are represented in the top left and centre of the painting. A restless crowd, curious to see what is going on, throngs the adjacent space between the two buildings in the background. Other mysterious figures, resting against one of the large boulders that dominate the landscape, turn their attention toward the action in the foreground.

The large castle and surrounding trees depicted in the background are inspired by northern European painting. More on this painting

Painting for the wedding room of Pier Francesco Borgherini in the family palace in Florence

The Joseph canvases (now in the National Gallery in London) (See above) offer another example of Pontormo's developing style. Done around the same time as the earlier Visitation, these works (such as Joseph in Egypt) show a much more mannerist leaning. According to Giorgio Vasari, the sitter for the boy seated on a step is his young apprentice, Bronzino.

Workshop of Pontormo  (1494–1557)

The Virgin and Child with St Joseph and St John the Baptist, c. after 1527

Oil on poplar wood

Height: 116 cm (45.6 in); Width: 98.5 cm (38.7 in)

Royal Castle, Warsaw

Joseph is a figure in the Gospels, the husband of Mary, mother of Jesus, and is venerated as Saint Joseph. In both Catholic and Protestant traditions, Joseph is regarded as the patron saint of workers and is associated with various feast days. Pope Pius IX declared him to be both the patron and the protector of the Catholic Church, in addition to his patronages of the sick and of a happy death, due to the belief that he died in the presence of Jesus and Mary. In popular piety, Joseph is regarded as a model for fathers and has also become patron of various dioceses and places.

According to the New Testament, Joseph was the father of James, Joses, Jude, Simon, and at least two daughters. More on Saint Joseph

John the Baptist (sometimes called John in the Wilderness; also referred to as the Angel of the Desert) was the subject of at least eight paintings by the Italian Baroque artist Michelangelo Merisi da Caravaggio (1571–1610).

 

The story of John the Baptist is told in the Gospels. John was the cousin of Jesus, and his calling was to prepare the way for the coming of the Messiah. He lived in the wilderness of Judea between Jerusalem and the Dead Sea, "his raiment of camel's hair, and a leather girdle about his loins; and his meat was locusts and wild honey." He baptised Jesus in the Jordan.

According to the Bible, King Herod's daughter Salome requested Saint John the Baptist's beheading. She was prompted by her mother, Herodias, who sought revenge, because the prophet had condemned her incestuous marriage to Herod. More John the Baptist

Jacopo Carucci da Pontormo

The Deposition, c. 1526-1528

Oil on wood

313 x 192 cm (123 x 76 in)

Capponi chapel, Santa Felicita, Florence

The Deposition from the Cross is an altarpiece depicting the Deposition of Christ. It is broadly considered to be the artist's surviving masterpiece. Painted in oil on canvas, the painting is located above the altar of the Capponi Chapel of the church of Santa Felicita in Florence.

This painting suggests a whirling dance of the grief-stricken. They inhabit a flattened space, comprising a sculptural congregation of brightly demarcated colors. The vortex of the composition droops down towards the limp body of Jesus off center in the left. Those lowering Christ appear to demand our help in sustaining both the weight of his body (and the burden of sin Christ took on) and their grief. No Cross is visible; the natural world itself also appears to have nearly vanished: a lonely cloud and a shadowed patch of ground with a crumpled sheet provide sky and stratum for the mourners. If the sky and earth have lost color, the mourners have not; bright swathes of pink and blue envelop the pallid, limp Christ. More on this painting

Jacopo Pontormo

Preparatory drawing for the Deposition

44.3 x 27.6 cm

Christ Church Picture Gallery, Oxford, United Kingdom. 

Follower of Pontormo

The Madonna and Child with the Infant Baptist, c. probably 1560s

Oil on wood

81.3 x 58.4 cm

National Gallery, London

The Christ Child sits on his mother’s lap holding her hand and smiling at us. His cousin, the young Saint John the Baptist, stands grinning behind the Virgin. The happy, exuberant expressions of the children contrast with the pensive mood of the Virgin. Christ’s right hand is raised in an implied gesture of blessing. More on this painting

In the years between the SS Annunziata and San Michele Visitations, Pontormo took part in the fresco decoration of the salon of the Medici country villa at Poggio a Caiano (1519–20). There he painted frescoes in a pastoral genre style, very uncommon for Florentine painters; their subject was the obscure classical myth of Vertumnus and Pomona in a lunette.

In 1522, when the plague broke out in Florence, Pontormo left for the Certosa di Galluzzo, a cloistered Carthusian monastery where the monks followed vows of silence. He painted a series of frescoes, now quite damaged, on the passion and resurrection of Christ. These frescoes reveal especially strongly the influence of Albrecht Dürer's engravings, which often provided inspiration to Pontormo after he returned to Florence. More on Pontormo

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