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Visitation, 1528 by Jacopo Carucci (Pontormo) (1494-1557, Italy)

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Framed Print Fine Art Visitation - 1528 By Jacopo Carucci , Framed Print Fine Art Visitation - 1528 By Jacopo Carucci
Visitation, 1528 by Jacopo Carucci (Pontormo) (1494-1557, Italy)
Framed Print Fine Art Visitation - 1528 By Jacopo Carucci , Framed Print Fine Art Visitation - 1528 By Jacopo Carucci

"Visitation"

Jacopo Carucci (Pontormo) - 1528

his early Visitation makes an interesting comparison with his painting of the same subject (at right), which was done about a decade later for the parish church of St. Michael in Carmignano, about 20 km west of Florence. Placing these two pictures together—one from his early style, and another from his mature period—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. 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.



 
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WahooArt.com - Jacopo Carucci (Pontormo)
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A-8LJ594----EN-
Visitation, 1528 by Jacopo Carucci (Pontormo) (1494-1557, Italy)
/Art.nsf/O/8LJ594/$File/Jacopo-Carucci-Pontormo-Visitation.JPG
his early Visitation makes an interesting comparison with his painting of the same subject (at right), which was done about a decade later for the parish church of St. Michael in Carmignano, about 20 km west of Florence. Placing these two pictures together—one from his early style, and another from his mature period—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. 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.
Jacopo Carucci (Pontormo)
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