Influences for this refined technique of the portrait include Ingres, with whom Chassériau had recently studied, and Italian Renaissance masters Raphael and Bronzino.
He is said to have been instructed in painting by Salviati and Bronzino, in sculpture by Michelangelo Buonarroti, in architecture by Giorgio Vasari, and to have learned miniature painting under Giulio Clovio.
Finally, in addition to being a painter, Bronzino was also a poet, and his most personal portraits are perhaps those of other literary figures such as that of his friend the poet Laura Battiferri.
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Towards the end of his life, Bronzino took a prominent part in the activities of the Florentine Accademia delle Arti del Disegno, of which he was a founding member in 1563.
Known for her still and timeless portraits which often bear references to painting (the Flemish Primitives, Ingres, Bronzino), her photographs have appeared in a wide range of magazines such as The Wire, Telegraph Magazine, Independent Magazine, Mojo, The New York Times Magazine and W (USA).
She originally trained as a painter at Munich Academy of Art, and is influenced by painters such as Agnolo Bronzino, Diego Velázquez, Phillip Otto Runge.
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In art, depicting a face reflecting the ravages of jealousy was a frequent studio exercise: see for instance drawings by Charles Le Brun (1619–1690) or Sébastien Leclerc (the Younger) (1676–1763), or in a fuller treatment, the howling figure on the left in Bronzino’s An Allegory with Venus and Cupid (probably 1540-50).
The drawings collection holds some 200 drawings by Bronzino, Guardi, Claude Lorrain, Le Brun, Oudry, Greuze, Géricault, Friesz.