- Pontormo, Jacopo da
orig. Jacopo Carrucciborn May 24, 1494, Pontormo, Republic of Florenceburied Jan. 2, 1557, FlorenceFlorentine painter.The son of a painter, he was apprenticed to Leonardo da Vinci and later to Piero di Cosimo and Andrea del Sarto (who exerted the greatest influence on him). The agitated, almost neurotic emotionalism of his work reflects a departure from the balance and tranquillity of the High Renaissance. His expressive style is sometimes considered an early manifestation of Mannerism. Primarily a religious painter, he also did sensitive portraits and was employed by the Medici family to decorate their villa at Poggio a Caiano with mythological subjects.
* * *▪ Florentine artistoriginal name Jacopo Carrucciborn May 24, 1494, Pontormo, near Empoli, Republic of Florence [Italy]—buried Jan. 2, 1557, FlorenceFlorentine painter who broke away from High Renaissance classicism to create a more personal, expressive style that is sometimes classified as early Mannerism.Pontormo was the son of Bartolommeo Carrucci, a painter. According to the biographer Giorgio Vasari, he was apprenticed to Leonardo da Vinci and afterward to Mariotto Albertinelli and Piero di Cosimo. At the age of 18 he entered the workshop of Andrea del Sarto, and it is this influence that is most apparent in his early works. In 1518 he completed an altarpiece in the Church of San Michele Visdomini, Florence, that reflects in its agitated—almost neurotic—emotionalism a departure from the balance and tranquillity of the High Renaissance. His painting of “Joseph in Egypt” (c. 1515), one of a series for Pier Francesco Borgherini, suggests that the revolutionary new style appeared even earlier.Pontormo was primarily a religious painter, but he painted a number of sensitive portraits and in 1521 was employed by the Medici Family to decorate their villa at Poggio a Caiano with mythological subjects. In the Passion cycle (1522–25) for the Certosa near Florence (now in poor condition), he borrowed ideas from Albrecht Dürer, whose engravings and woodcuts were circulating in Italy. His mature style is best exemplified in the “Deposition” painted soon after this for Santa Felicità, Florence.Pontormo became more and more of a recluse in later life. A diary survives from 1554 to 1557, but the important frescoes in San Lorenzo on which he worked during the last decade of his life are now known only from drawings; in these the influence of Michelangelo is apparent. Numerous drawings survive, and paintings are to be found in various galleries in Europe and America, as well as in Florence.
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