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BARTOLOMEO, Fra The Adoration of the Christ Child nn oil painting


The Adoration of the Christ Child nn
Painting ID::  4939
BARTOLOMEO, Fra
The Adoration of the Christ Child nn
c. 1499 Oil on canvas Galleria Borghese, Rome

   
   
     

BARTOLOMEO, Fra The Marriage of St Catherine of Siena ww oil painting


The Marriage of St Catherine of Siena ww
Painting ID::  4940
BARTOLOMEO, Fra
The Marriage of St Catherine of Siena ww
1511 Oil on wood, 257 x 228 cm Mus??e du Louvre, Paris

   
   
     

BARTOLOMEO, Fra Deposition  dfde oil painting


Deposition dfde
Painting ID::  4941
BARTOLOMEO, Fra
Deposition dfde
c. 1515 Oil on canvas, 152 x 195 cm Galleria degli Uffizi, Florence

   
   
     

BARTOLOMEO, Fra The Annunciation (front), Circumcision and Nativity (back) oil painting


The Annunciation (front), Circumcision and Nativity (back)
Painting ID::  4942
BARTOLOMEO, Fra
The Annunciation (front), Circumcision and Nativity (back)
c. 1500 Tempera on wood, 19,5 x 9 cm Galleria degli Uffizi, Florence

   
   
     

BARTOLOMEO, Fra Portrait of Girolamo Savonarola oil painting


Portrait of Girolamo Savonarola
Painting ID::  4943
BARTOLOMEO, Fra
Portrait of Girolamo Savonarola
c. 1498 Oil on wood, 47 x 31 cm Museo di San Marco, Florence

   
   
     

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     BARTOLOMEO, Fra
     b. 1473, Firenze, d. 1517 b. 1473, Firenze, d. 1517 He was born in Savignano di Prato, Tuscany. He received the nickname of Baccio della Porta for his house was near the Porta ("Gate") San Pier Gattolini. Starting from 1483 or 1484, by recommendation of Benedetto da Maiano, he apprenticed in the workshop of Cosimo Rosselli. In 1490 or 1491 he began a collaboration with Mariotto Albertinelli. In the late 1490s Baccio was drawn to the teachings of Fra Girolamo Savonarola, who denounced what he viewed as vain and corrupt contemporary art. Savonarola argued for art serving as a direct visual illustration of the Bible to educate those unable to read the book. From 1498 is his famous portrait of Savonarola, now in the Museo Nazionale di San Marco in Florence. The following year he was commissioned a fresco of the Universal Judgement for the Ospedale di Santa Maria Nuova, completed by Albertinelli and Giuliano Bugiardini when Baccio became a Dominican friar on July 26, 1500. The following year he entered the convent of San Marco. He renounced painting for several years, not resuming until 1504 when he became the head of the monastery workshop in obedience to his superior. In that year he began a Vision of St. Bernard for Bernardo Bianco's family chapel in the Badia Fiorentina, finished in 1507. Soon thereafter, Raphael visited Florence and befriended the friar. Bartolomeo learned perspective from the younger artist, while Raphael added skills in coloring and handling of drapery, which was noticeable in the works he produced after their meeting. With Raphael, he remained on the friendliest terms, and when he departed from Rome, left in his hands two unfinished pictures which Raphael completed. At the beginning of 1508 Bartolomeo moved to Venice to paint a Holy Father, St. Mary Magdalene and St. Catherine of Siena for the Dominicans of San Pietro Martire in Murano, influenced somewhat by Venetian colorism. As the Dominicans did not pay the work, he took it back to Lucca, where it can be seen now. Also in Lucca, in the October 1509, he painted by Albertinelli an altarpiece with Madonna and Child with Saints for the local cathedral. On November 26, 1510 Pier Soderini commissioned him an altarpiece for the Sala del Consiglio of Florence, now in the Museum of San Marco. Two years later he finished another altarpiece for the cathedral of Besancon.

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     | Frederick Horsman Varley | Giovanni Antonio Boltraffio | BRAMANTINO |


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