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In view of the celebrated position of Bronzino as a leading artist of his day, it is time to focus with some care on the most significant artistic, intellectual, cultural, and political forces which affected the origins and development of his mature iconography programs, decorative style, and history of art. This book initially concentrates on how Bronzino's humanist milieu influenced the formal qualities and iconography of his early works, as well as his written commentaries on the arts. Then on Bronzino's the artist and his intellectual strategies in portraiture and decorative paintings, particularly attractive to his demanding patrons and proved to be critical for his sustained influence as an artist and promoter of the arts academy. 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Vasari's conception of history painting evolves in the development of religious and secular decorative cycles in the sixteenth century. His classical education, his love for collecting art and his quest for artistic expression through disegno (drawing) reveal his humanistic culture. Vasari fuses the classical artistic, literary and philosophical traditions with Renaissance literary and visual conventions, thus formulating a practical and theoretical artistic language as well as an historical visual and emblematic repertoire of images with their signification. Cheney postulates a unique notion on Vasari's conception of history painting, which evolves in the development of religious and secular decorative cycles in the sixteenth century. This book will interest not only those who are initiating their study of Italian art, but in general, all those who are interested in Italian culture. 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His artistic training and traveling experiences, his love for the Greek-sculptress, Maria Zambaco, and his aesthetic sensibility provided the background for these mythical paintings. 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