Editing Mannerism (section)

===Agnolo Bronzino===
[[File:Angelo Bronzino - Venus, Cupid, Folly and Time - National Gallery, London.jpg|thumb|upright=1.2|High Mannerism: ''[[Venus, Cupid, Folly and Time]]'' by [[Bronzino]], {{circa|1545}}; [[National Gallery|National Gallery, London]]]]
[[Bronzino|Agnolo Bronzino]] was a pupil of Pontormo,<ref name=":3">{{Cite book|title=Bronzino|last1=Cecchi|first1=Alessandro|last2=Bronzino|first2=Agnolo|last3=vans|first3=Christopher E|publisher=The Library of Great Masters|year=1996|location=Antella, Florence|pages=20}}</ref> whose style was very influential and often confusing in terms of figuring out the attribution of many artworks.<ref name=":3" /> During his career, Bronzino also collaborated with [[Giorgio Vasari|Vasari]] as a [[Scenic design|set designer]] for the production "Comedy of Magicians", where he painted many [[portrait]]s.<ref name=":3" /> Bronzino's work was sought after, and he enjoyed great success when he became a [[court painter]] for the [[House of Medici|Medici]] family in 1539.<ref name=":3" /> A unique Mannerist characteristic of Bronzino's work was the rendering of milky [[complexion]]s.<ref name=":3" />

In the painting, ''[[Venus, Cupid, Folly and Time]]'', Bronzino portrays an erotic scene that leaves the viewer with more questions than answers. In the foreground, [[Cupid]] and [[Venus (mythology)|Venus]] are nearly engaged in a kiss, but pause as if caught in the act. Above the pair are mythological figures, [[Father Time]] on the right, who pulls a curtain to reveal the pair and the representation of the [[Nyx|goddess of the night]] on the left. The composition also involves a grouping of masks, a [[Hybrid beasts in folklore|hybrid creature]] composed of features of a girl and a serpent, and a man depicted in agonizing pain. Many theories are available for the painting, such as it conveying the dangers of [[syphilis]], or that the painting functioned as a [[Royal court|court]] game.<ref>{{Cite book |last1=Stokstad |first1=Marilyn |url=https://archive.org/details/arthistoryvolume00stok_027 |title=Art History |last2=Cothren |first2=Michael Watt |publisher=Pearson/Prentice Hall |year=2011 |isbn=9780205744220 |location=Upper Saddle River, New Jersey |pages=[https://archive.org/details/arthistoryvolume00stok_027/page/n176 663] |url-access=limited}}</ref>

Mannerist portraits by Bronzino are distinguished by a serene elegance and meticulous attention to detail. As a result, Bronzino's sitters have been said to project an aloofness and marked emotional distance from the viewer. There is also a virtuosic concentration on capturing the precise pattern and sheen of rich textiles. Specifically, within the ''Venus, Cupid, Folly and Time'', Bronzino utilizes the tactics of Mannerist movement, attention to detail, color, and sculptural forms. Evidence of Mannerist movement is apparent in the awkward movements of Cupid and Venus, as they contort their bodies to partly embrace. Particularly, Bronzino paints the complexion with the many forms as a perfect porcelain white with a smooth effacement of their muscles which provides a reference to the smoothness of sculpture.