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RE: Bronzino partlets

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  • dsmallory@waymark.net
    Okay, I had thought of the goffering idea with starch. The problem is that some of the pleats are zigzag, some are swagged, and some are a combination of the
    Message 1 of 2 , May 12, 2006
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      Okay, I had thought of the goffering idea with starch. The problem is that
      some of the pleats are zigzag, some are swagged, and some are a combination
      of the two. So how to deal with that. Has anyone out there duplicated one
      of these partlets, and if so, do you have a photo of the results we could
      see?

      And--we still have no evidence that any other painter of the time period
      showed these partlets. One of my books clearly indicates (from contemporary
      sources in the 16th century) that the Eleanor of Toledo portrait done by
      Bronzino about the same time was done from a fabric sample not an actual
      dress that Eleanor was wearing. If he could paint a whole made up dress,
      why couldn't he fabricate a partlet in his mind and paint that too? I'd
      really like to see a portrait from another 16th century artist showing
      similar partlets to be convinced. We also must not forget the sociologic
      and economic climate driving the commissioning of these portraits--they were
      afterall designed to show the power and extravagance of the privileged class
      which may or may not completely represent reality.
      Belladonna
    • caitlin_oduibhir
      Everything you state is true as far as interpreting the painting is concerned, however, some thoughts- *Having a reoccuring fashion unique to one painter is
      Message 2 of 2 , May 13, 2006
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        Everything you state is true as far as interpreting the painting is
        concerned, however, some thoughts-

        *Having a reoccuring fashion unique to one painter is not unheard of.
        Veronese did it as well with the cutwork sleeves. There are loads of
        theories that postulate why they altered reality to fit some kind of
        ideal at the time.

        *There is extant evidence of running stitch pleated clothing in
        history. It is Norse, and much earlier in time, however this proves
        that it was possible with less technology available, thus the logic
        suggests more complex designs could have evolved. It was however
        apparently reserved for ceremonial dress because of the labour
        involved each time it was washed.

        *An SCA weaver has recently figured out how to weave a goffered veil,
        so it is possible to weave rather than just stitch texture into
        fabric. Who knows, it could also be a strange interpretation of
        macreme style lace work.

        *The partlet in question looks in many ways like he took the edge of
        his palette knife and etched into the wet paint. It's random, and yet
        not. This could simply be the case of a painter exploring his medium.

        Salvi
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