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Beauty |

Bronzino and the Evolution of a Portrait, Barbara Williams, by Gillian M. Dunlop

Gillian M. Dunlop, FRACS, MBBS(Hons), BSc(Med)1
[+] Author Affiliations
1Sydney Adventist Hospital, Wahroonga, Sydney, New South Wales, Australia
JAMA Facial Plast Surg. 2014;16(4):237-239. doi:10.1001/jamafacial.2014.49.
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The Beauty section in JAMA Facial Plastic Surgery usually discusses 1 painting in depth. In this article I will diverge from this format to explain how artists of today, including myself, look to the great masters in the history of art for inspiration and direction. Historical portraits fascinate and intrigue us because they provide a window to look at characters of their era. As the historian, Leon Battista Alberti, said in 1435: “painting possesses a truly divine power in that not only does it make the absent present...but it also represents the dead to the living centuries later.”1(p64)

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Figure 1.
Agnolo Bronzino (1502-1563). Portrait of Eleonora of Toledo With Her Son Giovanni (circa 1545)

Tempera on wood. 45 × 38 in. Galleria degli Uffizi, Florence, Italy.

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Figure 2.
Photograph and Portrait of Barbara Williams

A, Unknown photographer (1952). Print of black and white photograph with grid for intended portrait. Possession of the artist, Gillian M. Dunlop. B, Gillian M. Dunlop (1963-). Barbara Williams (2012). Oil on linen. 18 × 14 in. Rodney Williams and Garnett Passe Memorial Foundation, Melbourne, Australia.

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