Portrait of Bia de' Medici. The Portrait of Bia de' Medici is an oil-tempera on wood painting by Agnolo Bronzino, dating to around 1542 and now in the Uffizi in Florence.
For a long time it was displayed in the Tribuna at the heart of the museum, but since 2012 it has been moved to the sale rosse of the Nuovi Uffizi. A second portrait, by Pontormo, has also been argued to show Bia de' Medici, but this identification is disputed.
After her death, many art historians believe her father commissioned a posthumous painting of her by Agnolo Bronzino, which art historians regard as one of his finest works. The work is 63 cm by 48 cm and was painted in tempera on wood.
In the famous painting, which is on display in the Galleria degli Uffizi in Florence, Bia wears a medallion with her father's profile on it, emphasizing her bond with her father. Bronzino shows the child half-length and sitting on a chair, recalling the pose in his slightly earlier Portrait of Lucrezia Panciatichi-a rigid official pose offset by some hints of hand movement, as if the character was about to get up, along with an intense but emotionless gaze straight at the viewer.
The face is lit and highlighted by the blue background, whilst the cold light and absence of any strong chiaroscuro effect accentuates the smoothness of the subject's complexion and idealises her features. Her complexion is a pale white because Bronzino painted the portrai
For a long time it was displayed in the Tribuna at the heart of the museum, but since 2012 it has been moved to the sale rosse of the Nuovi Uffizi. A second portrait, by Pontormo, has also been argued to show Bia de' Medici, but this identification is disputed.
After her death, many art historians believe her father commissioned a posthumous painting of her by Agnolo Bronzino, which art historians regard as one of his finest works. The work is 63 cm by 48 cm and was painted in tempera on wood.
In the famous painting, which is on display in the Galleria degli Uffizi in Florence, Bia wears a medallion with her father's profile on it, emphasizing her bond with her father. Bronzino shows the child half-length and sitting on a chair, recalling the pose in his slightly earlier Portrait of Lucrezia Panciatichi-a rigid official pose offset by some hints of hand movement, as if the character was about to get up, along with an intense but emotionless gaze straight at the viewer.
The face is lit and highlighted by the blue background, whilst the cold light and absence of any strong chiaroscuro effect accentuates the smoothness of the subject's complexion and idealises her features. Her complexion is a pale white because Bronzino painted the portrai
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