View source for Pontormo

{{Short description|Florentine Mannerist painter}}
{{use mdy dates|date=November 2023}}
{{Infobox artist
| name           = Pontormo
| image          = 138 le vite, jacopo pontormo.jpg
| caption        = Illustration from ''[[Lives of the Most Excellent Painters, Sculptors, and Architects]]'' by [[Giorgio Vasari]], 1568 edition 
| birth_name     = Jacopo Carucci
| birth_date     = May 24, 1494
| birth_place    = Pontorme near [[Empoli]], [[Republic of Florence]]
| death_date     = {{death date and age |1557|1|2|1494|5|24}}
| death_place    = [[Florence]], Republic of Florence
| nationality    = Italian
| field          = Painting
| training       =
| movement       = [[Mannerism]]
| works          = [[The Deposition from the Cross (Pontormo)|The Deposition from the Cross]]
| patrons        =
| influenced by  =
| influenced     =
| awards         =
}}

'''Jacopo Carucci''' or '''Carrucci''' ({{IPA|it|ˈjaːkopo ka(r)ˈruttʃi|IPA}}; May 24, 1494 – January 2, 1557), usually known as '''Jacopo''' ('''da''') '''Pontormo''' or simply '''Pontormo''' ({{IPA|it|ponˈtormo|IPA}}), was an  Italian [[Mannerism|Mannerist]] painter and portraitist from the [[Florentine School]]. His work represents a profound [[Painting style|stylistic]] shift from the calm [[Perspective (graphical)|perspectival]] regularity that characterized the art of the [[Italian Renaissance|Florentine Renaissance]].<ref>{{cite web |title=Pontormo: Miraculous Encounters |url=https://www.themorgan.org/exhibitions/pontormo |website=The Morgan Library & Museum |access-date=9 November 2018 |language=en |date=4 April 2018}}</ref> He is famous for his use of twining poses, coupled with ambiguous perspective; his figures often seem to float in an uncertain environment, unhampered by the forces of gravity.

==Biography and early work==
Jacopo Carucci was born at Pontorme (then known as Pontormo or Puntormo), near [[Empoli]], to Bartolomeo di Jacopo di Martino Carrucci and Alessandra di Pasquale di Zanobi. [[Giorgio Vasari|Vasari]] relates how the orphaned boy, "young, melancholy, and lonely", was shuttled around as a young apprentice:

{{blockquote|Jacopo had not been many months in Florence before Bernardo Vettori sent him to stay with [[Leonardo da Vinci]], and then with [[Mariotto Albertinelli]], [[Piero di Cosimo]], and finally, in 1512, with [[Andrea del Sarto]], with whom he did not remain long, for after he had done the cartoons for the arch of the Servites, it does not seem that Andrea bore him any good will, whatever the cause may have been.}}
{{multiple image
| align = left
| direction = horizontal
| width = 
| header_align = 
| footer_align = 
| image1 = Pontormo, Visitation, 1516, SS Annunziata, Chiostrino dei Voti, Florence.jpg
| width1 = 300
| caption1 = ''Visitation'', 1514–16, [[fresco]], 392&nbsp;×&nbsp;337&nbsp;cm, Chiostrino dei Voti, [[SS. Annunziata, Florence]]
| image2 = Pontormo-visitation-after-restorationRGB.jpg
| width2 = 170
| caption2 = ''[[Carmignano Visitation|Visitation]]'', 1528–29, [[San Michele e San Francesco, Carmignano]]
}}

Pontormo painted in and around [[Florence]], often supported by [[House of Medici|Medici]] patronage. A foray to Rome, largely to see [[Michelangelo]]'s work, influenced his later style. Haunted faces and elongated bodies are characteristic of his work. An example of Pontormo's early style is a [[fresco]] depicting the ''[[Visitation of the Virgin and St Elizabeth]],'' with its dancelike, balanced figures, painted from 1514 to 1516.

This early ''Visitation'' makes an interesting comparison with his painting of the same subject which was done about a decade later, now housed in the parish church of [[San Michele e San Francesco, Carmignano|St. Michael Archangel]] in [[Carmignano]], about 20&nbsp;km west of Florence. Placing these two pictures together—one from his early style, and another from his mature period—throws Pontormo's artistic development into sharp relief. In the earlier work, Pontormo is much closer in style to his teacher, Andrea del Sarto, and to the early sixteenth-century renaissance artistic principles. For example, the figures stand at just under half the height of the overall picture, and though a bit more crowded than true high renaissance balance would prefer, at least are placed in a [[Renaissance architecture|classicizing architectural]] setting at a comfortable distance from the viewer. In the later work, the viewer is brought almost uncomfortably close to the [[Mary (mother of Jesus)|Virgin]] and [[Elizabeth (biblical figure)|St. Elizabeth]], who drift toward each other in clouds of [[drapery]]. Moreover, the clear architectural setting that is carefully constructed in the earlier piece has been completely abandoned in favour of a peculiar nondescript urban setting.

[[Image:Jacopo Pontormo 032.jpg|thumb|upright=1.5|left|''[[Joseph in Egypt (painting)|Joseph in Egypt]]'', 1515&ndash;1518; Oil on wood; 96 x 109 cm; National Gallery, London]]

The [[Joseph (son of Jacob)|Joseph]] canvases (now in the [[National Gallery]] in London) offer another example of Pontormo's developing style.  Done around the same time as the earlier ''Visitation'', these works (such as ''[[Joseph in Egypt (painting)|Joseph in Egypt]]'', at left) show a much more mannerist leaning. According to [[Giorgio Vasari]], the sitter for the boy seated on a step is his young apprentice, [[Bronzino]].

[[File:Pontormo, lunetta di vertumno e pomona, 1519-21, 03-93.jpg |thumb|upright=1.1|Lunette of ''[[Vertumnus and Pomona (Pontormo)|Vertumnus and Pomona]]'', 1520&ndash;21]]

In the years between the SS Annunziata and San Michele ''Visitation''s, Pontormo took part in the [[fresco]] decoration of the salon of the Medici country [[villa]] at [[Poggio a Caiano]] (1519–20), 17&nbsp;km NNW of Florence.  There he painted frescoes in a [[pastoral]] genre style, very uncommon for Florentine painters; their subject was the obscure [[classical myth]] of ''[[Vertumnus and Pomona (Pontormo)|Vertumnus and Pomona]]'' in a [[lunette]].

In 1522, when the [[Plague (disease)|plague]] broke out in Florence, Pontormo left for the [[Certosa di Galluzzo]], a cloistered [[Carthusian monastery]] where the [[monk]]s followed vows of silence. He painted a series of frescoes, now quite damaged, on the passion and resurrection of Christ. These frescoes reveal especially strongly the influence of [[Albrecht Dürer]]'s engravings, which often provided inspiration to Pontormo after he returned to Florence.<ref>The Morgan Library and Museum, Jacopo Pontormo, Bruce Edelstein, Davide Gasparotto, Giada Damen, and Cristina Gnoni Mavarelli. 2018. ''Miraculous Encounters: Pontormo from Drawing to Painting''. Los Angeles: The J. Paul Getty Museum. p. 109.  {{ISBN|978-1-60606-589-1}}
</ref>

==Main works in Florence==
[[Image:Jacopo Pontormo - Kreuzabnahme Christi.jpg|thumb|''The Deposition from the Cross'', 1525&ndash;1528]]

The large altarpiece canvas for the [[Filippo Brunelleschi|Brunelleschi]]-designed [[Capponi Chapel]] in the church of [[Santa Felicita, Florence]], portraying ''[[The Deposition from the Cross (Pontormo)|The Deposition from the Cross]]'' (1528), is considered by many Pontormo's surviving masterpiece.

The figures, with their sharply modelled forms and brilliant colours, are united in an enormously complex, swirling ovular [[Composition (visual arts)|composition]], housed by a shallow, somewhat flattened space. Although commonly known as ''The Deposition from the Cross'', there is no actual [[Christian cross|cross]] in the picture. The scene might more properly be called a ''[[Lamentation of Christ|Lamentation]]'' or ''Bearing the Body of Christ''. Those who are lowering (or supporting) [[Christ]] appear as anguished as the mourners.   Though they are bearing the weight of a full-grown man, they barely seem to be touching the ground; the lower figure in particular balances delicately and implausibly on his front two toes. These two boys have sometimes been interpreted as [[angel]]s, carrying Christ in his journey to [[Heaven]]. In this case, the subject of the picture would be more akin to an ''[[Entombment]]'', though the lack of any discernible [[tomb]] disrupts that theory, just as the lack of cross poses a problem for the ''Deposition'' interpretation. Finally, it has also been noted that the positions of Christ and the Virgin seem to echo those of [[Pietà (Michelangelo)|Michelangelo's ''Pietà'']] in Rome, though here in the ''Deposition'' mother and son have been separated. Thus in addition to elements of a ''Lamentation'' and ''Entombment'', this picture carries hints of a ''[[Pietà]]''.<ref>One attempt at defining ''[[mannerist]]'' art is to characterize it as art that follows art rather than art that follows nature, or life. [See for example [[Sydney Freedberg]]'s notion of the 'quoted' form in "Observations on the Painting of the Maniera" ''Art Bulletin'' 47 (1965), pp. 187–97.]  
Though Freedberg did not classify Pontormo as a strictly ''maniera'' painter, if we accept that the ''Deposition'' does hold a quotation from Michelangelo's ''Pietà'', then perhaps we can understand better how Pontormo fits in as a ''mannerist'' and into his own larger history of sixteenth-century art.</ref> <!--"The group of almost immaterial figures in transparent garments is arranged almost so as to represent a sequence of downward movements, rather than a single scene."—I'm not totally sure that I follow this last; perhaps the original author could help clarify?--> It has been speculated that the bearded figure in the background at the far right is a [[self-portrait]] of Pontormo as [[Joseph of Arimathea]]. Another unique feature of this particular [[Stations of the Cross|''Deposition'']] is the empty space occupying the central pictorial plane as all the Biblical personages seem to fall back from this point. It has been suggested that this emptiness may be a physical representation of the [[Virgin Mary]]'s emotional emptiness at the prospect of losing her son.

[[File:Pontormoannunciation.jpg|thumb|left|The ''[[Annunciation (Pontormo)|Annunciation]]'', fresco]]
[[File:Pontormo, Supper at Emmaus, 1525, Uffizi.jpg|thumb|''Supper at Emmaus,'' 1525, Uffizi, Florence]]

On the wall to the right of the ''Deposition'', Pontormo frescoed an ''[[Annunciation (Pontormo)|Annunciation]]'' scene (at left).  As with the ''Deposition'', the artist's primary attention is on the figures themselves rather than their setting.  Placed against white walls, the Angel [[Gabriel]] and [[Mary (mother of Jesus)|Virgin Mary]] are presented in an environment that is so simplified as to almost seem stark.  The fictive architectural details above each of them, are painted to resemble the gray stone ''pietra serena'' that adorns the interior of Santa Felicità, thus uniting their painted space with the viewer's actual space.  The startling contrast between the figures and ground makes their brilliant garments almost seem to glow in the light of the window between them, against the stripped-down background, as if the couple miraculously appeared in an extension of the chapel wall.  The ''Annunciation'' resembles his above-mentioned ''Visitation'' in the church of San Michele at [[Carmignano]] in both the style and swaying postures.

Vasari tells us that the [[cupola]] was originally painted with [[God the Father]] and [[Patriarchs (Bible)|Four Patriarchs]]. The decoration in the [[dome]] of the chapel is now lost, but four [[roundel]]s with the [[Four Evangelists|Evangelists]] still adorn the [[pendentive]]s, worked on by both Pontormo and his chief pupil [[Agnolo Bronzino]]. The two artists collaborated so closely that specialists dispute which roundels each of them painted.

This tumultuous oval of figures took three years for Pontormo to complete. According to Vasari, because Pontormo desired above all to "do things his own way without being bothered by anyone," the artist screened off the chapel so as to prevent interfering opinions. Vasari continues, "And so, having painted it in his own way without any of his friends being able to point anything out to him, it was finally uncovered and seen with astonishment by all of Florence..."<ref>Giorgio Vasari, ''The Lives of the Artists'', tr. Julia Conaway Bondanella and Peter Bondanella (Oxford University Press, 1998), p. 409</ref>

A number of Pontormo's other works have also remained in Florence; the [[Uffizi Gallery]] holds his mystical ''[[Supper at Emmaus (Pontormo)|Supper at Emmaus]]'' as well as portraits.

Many of Pontormo's well-known canvases, such as the early ''Joseph in Egypt'' series ({{Circa|1515}}) and the later ''Martyrdom of St Maurice and the Theban Legion'' ({{Circa|1531}}) depict crowds milling about in extreme [[contrapposto]] of greatly varied positions.

His portraits, acutely characterized, show similarly Mannerist proportions.

==Lost or damaged works==
[[Image:Jacopo Pontormo - Christ the Judge with the Creation of Eve - WGA18134.jpg|thumb|200px|right|''Christ and Creation of Eve'']]
[[Image:Jacopo Pontormo - Study for Deluge (portion of sheet) - WGA18142.jpg|thumb|250px|left|''Study for Deluge'']]
[[Image:Jacopo Pontormo - Group of the Dead - WGA18133.jpg|thumb|250px|left|''Dead in Last Judgment'']]
Many of Pontormo's works have been damaged, including the lunettes for the cloister in the [[Florence Charterhouse|Carthusian monastery of Galluzo]]. They now are displayed indoors, although in their damaged state.

Perhaps most tragic is the loss of the unfinished frescoes for the choir of the [[Basilica of San Lorenzo, Florence]] which consumed the last decade of his life.<ref>Still visible to the traveller Lassel in his travels through Italy, published 1698 [https://archive.org/details/italianvoyageorc00lass/page/n137/mode/2up], page 105.</ref>  His frescoes depicted a [[Last Judgment]] day composed of an unsettling morass of writhing figures. The remaining drawings, showing a bizarre and mystical ribboning of bodies, had an almost hallucinatory effect. Florentine figure painting had mainly stressed linear and sculptural figures. For example, the Christ in [[The Last Judgment (Michelangelo)|Michelangelo's ''Last Judgment'']] in the [[Sistine Chapel]] is a massive painted block, stern in his wrath; by contrast, Pontormo's Jesus in the ''Last Judgment'' twists sinuously, as if rippling through the heavens in the dance of ultimate finality.  Angels swirl about him in even more serpentine poses. If Pontormo's work from the 1520s seemed to float in a world little touched by gravitational force, the ''Last Judgment'' figures seem to have escaped it altogether and flail through rarefied air.

In his ''Last Judgment,'' Pontormo went against pictorial and theological tradition by placing God the Father at the feet of Christ, instead of above him, an idea [[Vasari]] found deeply disturbing:

<blockquote>But I have never been able to understand the significance of this scene, ... I mean, what he could have intended to signify in that part where there is Christ on high, raising the dead, and below His feet is God the Father, who is creating Adam and Eve. Besides this, in one of the corners, where are the four Evangelists, nude, with books in their hands, it does not seem to me that in a single place did he give a thought to any order of composition, or measurement, or time, or variety in the heads, or diversity in the flesh-colours, or, in a word, to any rule, proportion or law of perspective, for the whole work is full of nude figures with an order, design, invention, composition, colouring, and painting contrived after his own fashion ...</blockquote>

==Critical assessment and legacy==
[[File:Pontormo (Jacopo Carucci) (Italian, Florentine) - Portrait of a Halberdier (Francesco Guardi?) - Google Art Project.jpg|thumb|''[[Portrait of a Halberdier]]'', 1528&ndash;1530, oil on canvas, J. Paul Getty Museum, Los Angeles]]

Vasari's ''[[Lives of the Most Excellent Painters, Sculptors, and Architects|Life]]'' of Pontormo depicts him as withdrawn and steeped in neurosis while at the centre of the artists and patrons of his lifetime.  This image of Pontormo has tended to colour the popular conception of the artist, as seen in the film of [[Giovanni Fago]], ''Pontormo, a heretical love''. Fago portrays Pontormo as mired in a lonely and ultimately paranoid dedication to his final ''Last Judgment'' project, which he often kept shielded from onlookers.  Yet as the art historian Elizabeth Pilliod has pointed out, Vasari was in fierce competition with the Pontormo/Bronzino workshop at the time when he was writing his ''[[Lives of the Most Excellent Painters, Sculptors, and Architects]]''.  This professional rivalry between the two ''bottega''s could well have provided Vasari with ample motivation for running down the artistic lineage of his opponent for [[Medici]] patronage.<ref>See "An Introduction to Vasari's Story" in ''Pontormo, Bronzino, and Allori: A Genealogy of Florentine Art'' (New Haven, CT: Yale University Press, 2001).</ref>

Perhaps as a result of Vasari's derision, or perhaps because of the vagaries of aesthetic taste, Pontormo's work was quite out of fashion for several centuries.  The fact that so much of his work has been lost or severely damaged is a testament to this neglect, though he has received renewed attention from contemporary art historians.  Indeed, between 1989 and 2002, Pontormo's ''[[Portrait of a Halberdier]]'' (at right), held the title of the world's [[List of most expensive paintings|most expensive painting]] by an [[Old Master]].

Regardless of the veracity of Vasari's account, it is certainly true that Pontormo's artistic idiosyncrasies produced a style that few were able (or willing) to imitate, with the exception of his closest pupil [[Bronzino]]. Bronzino's early work is so close to that of his teacher, that the authorship of several paintings from the 1520s and '30s is still under dispute—for example, the four ''tondi'' containing the [[Four Evangelists|Evangelists]] in the Capponi Chapel.

Pontormo shares some of the mannerism of [[Rosso Fiorentino]] and of [[Parmigianino]]. In some ways, he anticipated the [[Baroque]] as well as the tensions of [[El Greco]]. His eccentricities also resulted in an original sense of composition. At best, his compositions are cohesive. The figures in the ''Deposition'', for example, appear to sustain each other: removal of any one of them would cause the edifice to collapse. In other works,  as in the Joseph canvases, the crowding makes for a confusing pictorial melee. It is in the later drawings that we see a graceful fusion of bodies in a composition which includes the oval frame of Jesus in the ''Last Judgement''.

==Anthology of works==
[[File:Pontormo, Madonna and Child with Young John the Baptist, 1534, Uffizi.jpg|thumb|''Madonna and Child with Young John the Baptist,'' 1534, Uffizi]]
[[Image: Pontormo - Portrait of Maria Salviati de' Medici with Giulia de' Medici - Walters 37596.jpg|thumb|''Portrait of Maria Salviati'', the wife of famous military leader Giovanni delle Bande Nere de' Medici, and Giulia, a Medici relative who was left in Maria's care after the murder of the child's father, 1543–1545,<ref>{{cite web |publisher= [[Walters Art Museum]] |url= http://art.thewalters.org/detail/26104 |title=''Portrait of Maria Salviati'' de' Medici with Giulia de' Medici}}</ref> Walters Art Museum]]

===Early works (until 1521)===
{|  class=wikitable
!  width="40%" | Painting
!  width="14%" | Date
!  width="40%" | Site
!  width="6%" | Link
|- valign="top"
|''Leda and the Swan'' (uncertain attribution)
|1512–1513
|[[Uffizi Gallery]], Florence
|
|- valign="top"
|''Apollo and Daphne''
|1513
|[[Bowdoin College Museum of Art]], Brunswick, Maine
|[http://artmuseum.bowdoin.edu/Obj4997$223]
|- valign="top"
|''Holy Conversation''
|1514
|San Luca Chapel, [[Santissima Annunziata, Florence]]
|
|- valign="top"
|''Madonna and Child with the Infant St John the Baptist''
|c. 1514
|Whitfield Fine Art, London
|[https://web.archive.org/web/20090802110315/http://www.whitfieldfineart.com/WHITFIELD_FINE_ART/jacopo_pontormo.html]
|- valign="top"
|''[[Scene from Hospital Life|Episode of Hospital Life]]''
|1514
|[[Accademia delle Arti del Disegno|Accademia]], Florence
|[http://renaissance.mrugala.net/Pontormo%20(par%20Fontaine%20S.)/Pontormo%20-%20Episode%20from%20Hospital%20Life.jpg]
|- valign="top"
|''Veronica and the Image''
|1515
|Medici Chapel, [[Santa Maria Novella]], Florence
|
|- valign="top"
|''[[Visitation (Pontormo)|Visitation]]''
|1514&ndash;1516
|[[Santissima Annunziata, Florence]]
|[http://rubens.anu.edu.au/htdocs/surveys/italren/pics.art/0180/18063.JPG]
|- valign="top"
|''[[Woman with a Basket of Spindles|Lady with Basket of Spindles]]'' (attributed to [[Andrea del Sarto]])
|1516–1517
|[[Uffizi Gallery]], Florence
|
|- valign="top"
| Marriage bedchamber panels for Pier Francesco Borgherini. (Two others by [[Francesco Bacchiacca]])
|
|
|
|- valign="top"
|''Joseph reveals himself to his brothers''
|1516–1517
|[[National Gallery]], London
|
|- valign="top"
|''[[Joseph Sold to Potiphar]]''
|1516–1517
|National Gallery, London
|[https://web.archive.org/web/20050317141213/http://www.nationalgallery.org.uk/cgi-bin/WebObjects.dll/CollectionPublisher.woa/wa/work?workNumber=NG6451]
|- valign="top"
|''[[Joseph's Brothers Beg for Help]]''
|1515
|National Gallery, London
|[https://web.archive.org/web/20050317141524/http://www.nationalgallery.org.uk/cgi-bin/WebObjects.dll/CollectionPublisher.woa/wa/work?workNumber=NG6453]
|- valign="top"
|''[[Pharaoh with his Butler and Baker]]''
|1516–1517
|National Gallery, London
|[https://web.archive.org/web/20050317141439/http://www.nationalgallery.org.uk/cgi-bin/WebObjects.dll/CollectionPublisher.woa/wa/work?workNumber=NG6452]
|- valign="top"
|''[[Joseph in Egypt (painting)|Joseph in Egypt]]''
|1517–1518
|National Gallery, London
|[https://web.archive.org/web/20051118124422/http://www.nationalgallery.org.uk/cgi-bin/WebObjects.dll/CollectionPublisher.woa/wa/work?workNumber=NG1131]
|- valign="top"
|*''[[St. Quentin (Pontormo)|St. Quentin]]'' (Also attributed to Giovanni Maria Pichi)
|1517
|Pinacoteca comunale, [[Sansepolcro]]
|
|- valign="top"
|''Portrait of Furrier''
|1517–1518
|Louvre, Paris
|[http://cartelen.louvre.fr/cartelen/visite?srv=car_not_frame&idNotice=13979]
|- valign="top"
|''St Jerome & St Francis''
|1518
|Whitfield Fine Art, London
|[https://web.archive.org/web/20090525081547/http://www.whitfieldfineart.com/WHITFIELD_FINE_ART/old_master_paintings.html]
|- valign="top"
|''[[Pucci Altarpiece]]''
|1518
|[[San Michele Visdomini]], Florence
|
|- valign="top"
|''[[Portrait of a Musician (Pontormo)|Portrait of Musician]]''
|1518–1519
|[[Uffizi Gallery]], Florence
|- valign="top"
|''[[Saint Anthony Abbot (Pontormo)|St Anthony Abbott]]''
|1518–1519
|Uffizi Gallery, Florence
|[https://web.archive.org/web/20051207071206/http://www.arca.net/uffizi/img/8379.jpg]
|- valign="top"
|''[[Portrait of Cosimo the Elder]]''
|1518–1519
|[[Uffizi Gallery]], Florence
|[https://www.pbs.org/empires/medici/gallery/pon_cos.html]
|- valign="top"
|''[[Saint John the Evangelist and Michael the Archangel|John the Evangelist & the Archangel Gabriel]]''
|1519
|Church of S. Michele, [[Empoli]]
|
|- valign="top"
|''[[Adoration of the Magi (Pontormo)|Adoration of the Magi]]''
|1519–1521
|[[Palazzo Pitti]], Florence
|
|- valign="top"
|''[[Vertumnus and Pomona (Pontormo)|Vertumnus and Pomona]]''
|1519–1521
|Villa Medici, [[Poggio a Caiano]]
|
|- valign="top"
|''Study of Man's Head '' (Drawing)
|
|Metropolitan Museum of Art, New York City
|[http://www.metmuseum.org/Works_of_Art/recent_acquisitions/1998/co_rec_eur_1998_361.asp]
|- valign="top"|
|Portrait of Gentleman with book and gloves
|1540-1541
|Cerruti Collection, Castello di Rivoli Museo d’Arte Contemporanea, Rivoli- Turin
|[https://www.castellodirivoli.org/en/opera/ritratto-gentiluomo-libro/]
|}

===Mature works (1522&ndash;30)===
{|  class=wikitable
!  width="40%" | Painting
!  width="14%" | Date
!  width="40%" | Site
!  width="6%" | Link
|- valign="top"
| ''Mary and Child with Four Saints''
| 1520–1530
| [[Metropolitan Museum]], New York City
|
|- valign="top"
|''Portrait of two friends''
|c. 1522
|[[Fondazione Giorgio Cini]], [[Venice]]
|
|- valign="top"
|''Madonna with Child & Two Saints'' (Bronzino?)
|c. 1522
|[[Uffizi Gallery]], Florence
|[https://web.archive.org/web/20051207071201/http://www.arca.net/uffizi/img/1538.jpg]
|- valign="top"
|''[[Holy Family with the Infant Saint John the Baptist (Pontormo)|Holy Family with St John]]''
|1522–1524
|[[Hermitage Museum]], [[St Petersburg]]
|[https://web.archive.org/web/20051029234022/http://www.guggenheimlasvegas.org/artist_work_md_1305.html]
|- valign="top"
|''Madonna with Child & St John'' (Attributed to [[Rosso Fiorentino]])
|1523–1525
|[[Uffizi Gallery]], Florence
|
|- valign="top"
|''Prayer in Gesthemane'' (copies by [[Jacopo da Empoli]])
|1523&ndash;1525
|[[Certosa di Galluzzo]]
|[https://web.archive.org/web/20051229021140/http://www.arpai.org/pdf/061-063.pdf]
|- valign="top"
|''Walk to Calvary''
|1523–1525
|Certosa di Galluzo
| [http://rubens.anu.edu.au/htdocs/surveys/italren/pics.art/0180/18069.JPG]
|- valign="top"
|''Christ before Pilate''
|1523–1525
|Certosa di Galluzzo
|[https://web.archive.org/web/20051207071210/http://www.cartage.org.lb/en/themes/Arts/painting/paintings/bigphotos/P/03galuzz.jpg]
|- valign="top"
|''Deposition''
|1523–1525
|Certosa di Galluzzo
|
|- valign="top"
|''Resurrection''
|1523–1525
|Certosa di Galluzzo
|[http://rubens.anu.edu.au/htdocs/surveys/italren/pics.art/0180/18073.JPG]
|- valign="top"
|''Supper in Emmaus''
|1525
|Uffizi Gallery, Florence
|[https://web.archive.org/web/20051031150627/http://gallery.euroweb.hu/html/p/pontormo/3/04emmaus.html]
|- valign="top"
|''Study of a Carthusian Monk'' (Drawing)
|1525
| Uffizi Gallery, Florence
| [http://www.artnet.com/magazine/reviews/karlins/karlins12-16-5.asp]
|- valign="top"
| ''Madonna and child & two angels''
|1525
| [[San Francisco Museum of Art]], San Francisco
|[https://web.archive.org/web/20070929102751/http://search.famsf.org:8080/view.shtml?keywords=&artist=Pontormo&country=&period=&sort=&start=1&position=1&record=64742]
|- valign="top"
| ''Portrait of young man in pink''
| 1525–1526
|Pinacoteca Communale, [[Lucca]]
|
|- valign="top"
| Tabernacle of San Giuliano, [[Boldrone Shrine|Boldrone]], ''Crucifix with Madonna & St. John, and Sant'Agostino''
| 1525–1526
| [[Accademia delle Arti del Disegno|Accademia]], Florence
|
|- valign="top"
| ''Birth of St. John Baptist''
| 1526
| [[Uffizi Gallery]], Florence
|- valign="top"
| ''[[Penitent Saint Jerome (Pontormo)|Penitent Saint Jerome]]''
| 1526–1527
| [[Lower Saxony State Museum]], [[Hanover]]
|
|- valign="top"
| ''Madonna with Child & St John'' (Bronzino?)
| 1526–1528
| [[Palazzo Corsini, Florence]]
|
|- valign="top"
| ''[[Madonna and Child with the Infant Saint John the Baptist (Pontormo)|Madonna with Child & St John]]''
| 1527–1528
| Uffizi Gallery, Florence
| [https://web.archive.org/web/20051026222524/http://www.arca.net/uffizi/img/4347.jpg]
|- valign="top"
| ''Matthew, Luke, & John'' (Mark painted by Bronzino)
| 1525–1526
| [[Santa Felicita]], [[Capponi Chapel]], Florence.
|
|- valign="top"
| ''[[The Deposition from the Cross (Pontormo)|Deposition]]''
| 1526–1528
| Santa Felicita, [[Capponi Chapel]], Florence.
|  [http://www.metmuseum.org/toah/hd/zino/hd_zino.htm]
|- valign="top"
| ''[[Annunciation (Pontormo)|Annunciation]]''
| 1527–1528
| Santa Felicita, [[Capponi Chapel]], Florence
| [http://www.metmuseum.org/toah/hd/zino/hd_zino.htm] [http://www.wga.hu/frames-e.html?/html/p/pontormo/4capponi/2annunc.html]
|- valign="top"
| ''Portrait of Francesca Capponi, as St. Mary Magdalen''
| 1527–1528
| Whitfield Fine Art, London
| [https://web.archive.org/web/20070815231032/http://www.whitfieldfineart.com/?p=103]
|- valign="top"
| ''[[Carmignano Visitation|Visitation]]''
| 1528–1529
| Church of [[San Francesco e Michele, Carmignano]]
|  [http://renaissance.mrugala.net/Pontormo%20(par%20Fontaine%20S.)/Pontormo%20-%20La%20Visitation.jpg]
|- valign="top"
| ''[[Virgin and Child with Saint Anne and Four Saints]]''
| 1528–1529
| [[Louvre Museum]], Paris
|  [http://cartelen.louvre.fr/cartelen/visite?srv=car_not_frame&idNotice=13981]
|- valign="top"
|''Portrait of a Halberdier''
|1528–1530
|[[J. Paul Getty Museum]], Los Angeles
|[https://web.archive.org/web/20090730234154/http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=945]
|- valign="top"
| ''[[The Ten Thousand Martyrs (painting)|The Ten Thousand Martyrs]]''
| 1529–1530
| [[Palazzo Pitti]], Florence
|- valign="top"
| ''Portrait of a man in a red cap''
| 1530
| [[National Gallery]], London
|
|- valign="top"
|}

===Late works (after 1530)===
{|  class=wikitable
!  width="40%" | Painting
!  width="14%" | Date
!  width="40%" | Site
!  width="6%" | Link
|- valign="top"
|''Martyrdom of San Maurizio and the Theban Legions'' (Pontormo & Bronzino)
|1531
|Uffizi Gallery, Florence
|
|- valign="top"
|''Noli me Tangere'' (Bronzino?)
|1531
|[[Casa Buonarroti]], Florence
|[https://web.archive.org/web/20060306200815/http://www.casabuonarroti.it/english/other/e-jacopo.htm]
|- valign="top"
| ''Portrait of lady in red with puppy'', (Bronzino?)
| 1532–1533
| Städelsches Kunstinstitut, Frankfurt
|
|- valign="top"
|''[[Venus and Cupid (Pontormo)|Venus and Cupid]]''
|1532–1534
|[[Galleria dell'Accademia]], Florence
|
|- valign="top"
|''Portrait of Alessandro de' Medici''
|before December 1535
|[[Philadelphia Museum of Art]], Philadelphia
|[https://publications.philamuseum.org/entries/102656]
|- valign="top"
|''Portrait of Alessandro de' Medici''
|c. 1534–1535
|[[Art Institute of Chicago]], Chicago
|[http://www.artnet.com/magazine/reviews/karlins/karlins12-16-4.asp]
|- valign="top"
|''[[Expulsion from Paradise (Pontormo)|Expulsion of Adam and Eve]]''
|{{circa|1535}}
|Uffizi Gallery, Florence
|
|- valign="top"
|''Study for the Three Graces'' (Drawing)
|1535
|Uffizi Gallery, Florence
|[http://www.wga.hu/frames-e.html?/html/p/pontormo/drawings/05graces.html]
|- valign="top"
|''Portrait of Maria Salviati de' Medici and Giulia de' Medici'' (Painting)
|c. 1539
|[[Walters Art Museum]], Baltimore
|[http://art.thewalters.org/viewwoa.aspx?id=26104]
|- valign="top"
|''Portrait of Niccolò Ardinghelli''
|
|National Gallery, Washington, D.C.
|[https://web.archive.org/web/20070928024216/http://www.kressfoundation.org/cgi-bin/kressorg/2templateb.cgi?17&Pontormo+(Jacopo+Carucci)&works&0]
|- valign="top"
|''[[Portrait of Maria Salviati]]''
|1543–1545
|[[Uffizi Gallery]], Florence
|- valign="top"
|''[[Sacrificial Scene]]''
|c. 1545
|[[Museo di Capodimonte|Capodimonte Museum]], Naples
|
|- valign="top"
|''My Book'' (''Pontormo's Diary'')
|1554–1556
|National Library, Florence
|
|- valign="top"
|''Portrait of Pontormo'' (Bronzino)
|
|
|[http://www.artnet.com/magazine/reviews/karlins/karlins12-16-6.asp]
|- valign="top"
|''St. Francis'' (Drawing)
|
|Museum of Fine Arts, Boston
|[https://web.archive.org/web/20060317123551/http://www.mfa.org/collections/search_art.asp?coll_accession=&coll_name=&coll_place=&coll_medium=&coll_culture=&coll_credit=&coll_provenance=&coll_has_images=1&coll_keywords=&coll_sort=0&coll_sort_order=0&submit=Search&coll_classification=Drawings&coll_artist=Pontormo]
|- valign="top"
|''[[Basilica of San Lorenzo, Florence|San Lorenzo]]'' (Fresco cartoons)
|
|
|  [http://www.wga.hu/frames-e.html?/html/p/pontormo/drawings/07loren1.html][http://www.wga.hu/frames-e.html?/html/p/pontormo/drawings/07loren2.html][http://www.wga.hu/frames-e.html?/html/p/pontormo/drawings/07loren3.html]
|- valign="top"
|}

==See also==

* [[Lost artworks]]

==References==
{{reflist}}

==Further reading==
*Krystof, Doris. ''Joseph Carrucci, known as Pontormo 1494–1557''. Köln: Konemann, 1988. {{ISBN|3-8290-0254-8}}
*Keener, Chrystine. (2021). Pontormo's lost frescoes at San Lorenzo: political propaganda and dynastic symbolism /.

==External links==
{{Commons|Jacopo Pontormo}}
{{EB1911 poster|Pontormo, Jacopo da|Pontormo }}
*[http://www.kfki.hu/~arthp/html/p/pontormo/ Pontormo's paintings and drawings illustrated]
*[http://www.abcgallery.com/P/pontormo/pontormo.html Pontormo at Olga's Gallery]
*[http://www.artist-biography.info/artist/jacopo_da_fontormo/ Giorgio Vasari's ''Vita''] {{in lang|en}}
*[http://www.cabinetmagazine.org/issues/18/pontormosdiary.php A diary of his last two years survives]
*[http://www.art-drawing.ru/gallery/category/808-pontormo-jacopo Pontormo. Pictures] [http://www.art-drawing.ru/biographies/brief-biographies/1169-pontormo and Biography]
*[https://archive.org/details/jacopocaruccidap00clap "Jacopo Carucci da Pontormo, his life and works", by Frederik Mortimer Clapp, Oxford University Press, 1916] (at [[Internet Archive]])
*[http://pontormo.it/pontormo/pontormo-visitation/ Official website of the Church of San Michele Arcangelo, Carmignano, home of the Visitation]

{{Pontormo}}
{{Authority control}}

[[Category:Italian Mannerist painters]]
[[Category:16th-century Italian painters]]
[[Category:Italian male painters]]
[[Category:Italian Roman Catholics]]
[[Category:Painters from Tuscany]]
[[Category:1494 births]]
[[Category:1557 deaths]]
[[Category:People from Empoli]]
[[Category:Fresco painters]]
[[Category:Catholic painters]]