与婴儿施洗圣约翰神圣家族。
他出生在Savignano迪普拉托,托斯卡纳。他收到的昵称Baccio德拉门为他的房子是Gattolini圣门附近的码头。
从1483年或1484年的建议Benedetto达18日,他的车间当过学徒关于柯西莫Rosselli。他是他那个时代最伟大的画家之一。在1490年或1491年,他开始了合作Mariotto Albertinelli。在1490年代末Baccio画的教导联邦铁路局Girolamo萨沃纳罗拉,他谴责他视为虚荣和腐败的当代艺术。萨沃纳罗拉主张艺术的直接视觉例证圣经教育那些不能读这本书。从1498年他著名的萨沃纳罗拉的画像,现在博物馆di圣马可重回国家队在佛罗伦萨。第二年他委托的普遍判断的壁画Ospedale迪圣玛丽亚四星,由Albertinelli和完成朱利亚诺Bugiardini当Baccio成为多米尼加修士1500年7月26日。第二年他进入圣马可的修道院。
他放弃了绘画多年,直到1504年才恢复的时候修道院车间负责人服从上级。那一年他开始的圣伯纳德Bernardo比安科的家庭教堂十二月佛罗伦萨在1507年完成。不久之后,拉斐尔参观佛罗伦萨和照顾修士。巴特洛学角度的年轻艺术家,而拉斐尔添加技能在着色和处理的布料,这是明显的作品后,他产生了他们的会议。拉斐尔,他依然以最友好的条件,当他离开罗马,留在他的手两个拉斐尔完成未完成的照片。
桑巴特鲁姆于1508年初搬到威尼斯画一个神圣的父亲,圣抹大拉的马利亚和锡耶纳的多米尼加人的圣凯瑟琳圣皮特Martire在慕拉诺岛影响,有些由威尼斯代表。多米尼加人没有支付工作,他把它带回卢卡现在,在那里可以看到。卢卡,在1509年10月,他画的Albertinelli装饰画与麦当娜和孩子的圣人当地的教堂。1510年11月26日码头Soderini委托他的祭坛的装饰品萨拉▽Consiglio佛罗伦萨,在圣马可的博物馆两年后,他完成了另一个祭坛的装饰品大教堂的贝桑松.
1513年,他去了罗马,他描绘了一幅彼得和保罗,现在Pinacoteca Vaticana,而从接下来的几年里圣马克福音的宫殿彼蒂在佛罗伦萨和雅司病的壁画在多米尼加修道院di Mugnonefrazione的菲索尔,就在佛罗伦萨。后承诺盛宴杜克的金星我阿方索·德的费拉拉,其中只有图纸仍然存在,他最后工作的壁画禁止接触的警告雅司病di Mugnone。
他于1517年在佛罗伦萨去世。
圣母怜子图(1516)。宫殿彼蒂,佛罗伦萨。
起初,他的作品的影响显示Rosselli的助手,皮耶罗的,那些多梅尼科是基尔兰达约和菲里皮。中断后从1500年到1503年,他似乎变化远景,从拉斐尔的表示光和它在移动形状的影响。
联邦铁路局巴特的数据通常是小,覆盖。这些品质是对他所谓的缺陷,证明他的风格的权力并不是想要的结果,他画的图的圣马克福音(列为他的杰作),除去覆盖物的形象圣塞巴斯蒂安。据称,后者被认为是如此强烈表达的痛苦和痛苦,它被发现有必要将它从它的地方一直在的教堂修道院展出。
桑巴特鲁姆联邦铁路局的成分显著技能集结的明暗,色彩的丰富性和美味,桑巴特鲁姆和令人钦佩的布料的人物,是第一个引入和使用人体关节。
在他的学生Cecchino del Frate Benedetto Ciamfanini,Gabriel RusticiRidolfo是基尔兰达约(Domenico是基尔兰达约的儿子)联邦铁路局保罗Pistolese.
He was born in Savignano di Prato, Tuscany. He received the nickname of Baccio della Porta for his house was near the Gate of San Pier Gattolini.
Starting from 1483 or 1484, by recommendation of Benedetto da Maiano, he apprenticed in the workshop of Cosimo Rosselli. He was one of the greatest painters of his time. In 1490 or 1491 he began a collaboration withMariotto 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 Dominicanfriar 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 aVision 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 for 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 Besançon.
In 1513 he went to Rome, where he painted a Peter and Paul, now in the Pinacoteca Vaticana, while from the following years are the St. Mark Evangelist of Palazzo Pitti in Florence and the frescoes in the Dominican convent of Pian di Mugnone, afrazione of Fiesole, just outside Florence. After a promised Feast of Venus for Duke Alfonso I d'Este of Ferrara, of which only drawings remain, his last work is fresco of Noli me tangere also in Pian di Mugnone.
He died in Florence in 1517.
Initially, his works showed the influence of Rosselli's assistant, Piero di Cosimo, and those of Domenico Ghirlandaio and Filippino Lippi. After his hiatus from 1500 to 1503, he seemed to change vision, taking from Raphael the representation of light and its effects over moving shapes.
Fra Bartolomeo's figures are generally small and draped. These qualities were alleged against him as defects, and to prove that his style was not the result of want of power, he painted the magnificent figure of the St. Mark Evangelist (ranked as his masterpiece), and the undraped figure of Saint Sebastian. It is alleged that the latter was felt to be so strongly expressive of suffering and agony, that it was found necessary to remove it from the place where it had been exhibited in the chapel of a convent.
Fra Bartolomeo's compositions are remarkable for skill in the massing of light and shade, richness and delicacy of colouring, and for the admirable drapery of the figures, Bartolomeo having been the first to introduce and use the lay-figure with joints.
Among his pupils were Cecchino del Frate, Benedetto Ciamfanini, Gabriel Rustici,Ridolfo Ghirlandaio (the son of Domenico Ghirlandaio), and Fra Paolo Pistolese.
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