The Young Men of Pontormo & Bronzino

Pontormo and Bronzino were both Florentine Mannerist painters of the High Renaissance known primarily by their nicknames: Jacopo Carucci became Pontormo, and Agnolo di Cosimo was known as Bronzino. Beyond being close artistic contemporaries, they were lifelong friends and likely lovers. The Metropolitan Museum of Art’s exhibition, The Medici: Portraits and Politics, 1512–1570, was a treasure trove of portraits by these two masters—a collection that could easily have been titled "Pontormo and Bronzino Under the Medici." Setting the formal court portraits aside, however, let us focus instead on the remarkable portraits of young men created by both artists.

Pontormo. Portrait of a Halberdier

Pontormo. Portrait of a Young Man with Book

Although these young men are often similarly posed—one hand rested on a hip, the other cradling a book—they reveal the distinct temperaments of two very different masters. Pontormo’s sitters are introspective and serious, their elongated arms and uneasy postures conveying a palpable disquietude. In contrast, Bronzino’s young men exude sensuality, carrying themselves with effortless composure and self-assurance.

Bronzino. Portrait of Young Man as Saint Sebastian

Bronzino. Portrait of of a Young Man with Book

My favorite Bronzino painting, Portrait of a Young Man with a Book, resides in The Met's collection, allowing me to visit it whenever I please. The sitter gazes out at the viewer with an unmistakable defiance: "I am what I am." While some might interpret this as arrogance, to me it asserts the right to self-definition over societal expectations. Notice, too, the setting, where pieces of furniture function almost like theatrical props rather than defining a realistic architectural space.

Pontormo. Portrait of Young Man with Red Cap

When Pontormo attempts to bring levity to his work, it never quite lands. In Portrait of a Young Man with a Red Cap, the cap perches awkwardly atop the sitter’s head, doing little to soften his underlying intensity. By contrast, Bronzino’s attempts at somber seriousness feel equally feigned. In his Portrait of a Young Man, the posture and dark attire suggest sobriety, yet the sitter’s lively expression—set against a vibrant, colorful drapery—reveals a young man clearly capable of playfulness. The classical sculpture peeking from behind the curtain may subtly hint at the sitter's sexual orientation, while the shadow casting downward from his jawline to the contour of his garment is rendered with exquisite, loving care.

Bronzino. Portrait of a Young Man

Whenever I visit a museum, I eagerly seek out the works of these two masters—and this exhibition at The Met was absolute eye candy for lovers of Pontormo and Bronzino.

Exhibit at Met ‘The Medici: Portraits and Politics, 1512 - 1570’ ends on October 11, 2021