传记

根据铭文“OPUS.BARTOLOMEI.VERMEIO。CORDUBENSIS在框架上的他最著名的画,佳能Lluis Despla的《圣母怜子图,贝尔梅霍,她的真名是Bartolome de Cardenas出生在科尔多瓦。这一理论最近遭到了质疑,因为没有纪录片或文体的证据,他的存在。

文档的地方他的四个城市的活动阿拉贡的皇冠:瓦伦西亚(1468),Daroca(1474),萨拉戈萨(1477 - 84)巴塞罗那(1486 - 1501)。

职业生涯

虽然还不清楚在贝尔梅霍收到了他的训练,他完全掌握石油釉技术建议直接接触15世纪佛兰德的绘画,他能够完全适应时期的西班牙圣坛雕刻的要求:大规模祭坛装饰许多面板。虽然职业生涯记录时间跨度超过三十年,他是走来走去的人:他从不定居在一个地方超过十年。在一段时间内,绘画是一个商业的地方,和工作一般由合同谈判,有直接和间接的证据,他是专业不可靠,但显然他的优秀人才使顾客愿意冒这个险。至少三个主要的圣坛雕刻,他进行了高坛祭坛装饰的圣多明哥de竖井Daroca和圣安娜在巴塞罗那,和处女的三部曲的瓦伦西亚,蒙特塞拉特的不完全为他人完成。

瓦伦西亚

贝尔梅霍的职业生涯似乎已经开始在1468年瓦伦西亚,在那里他记录在第一次支付一个祭坛的装饰品致力于圣迈克尔的教区教堂淘气小熊瓦伦西亚附近(中央面板目前安置在国家美术馆,伦敦)。[1]顾客是一个当地的贵族,安东尼奥·胡安淘气小熊是属于谁的。似乎没有文档的其他工作时期幸存下来,但有证据表明,他回来一段时间大约在1485年,当他画的签署中央面板蒙特塞拉特岛的三联画的圣母,下令一个意大利商人谁住在那里,弗朗西斯科·德拉基,教堂的活动领域,他的故乡。瓦伦西亚的翅膀是由画家Rodrigo de Osona,尽管有证据表明,贝尔梅霍负责至少部分简单叙述和一些绘画。^[2]

阿拉贡

到1474年,贝尔梅霍已经转移到Daroca的阿拉贡的小镇,在那里他签署了一份合同,油漆高教堂祭坛的装饰品的圣多明各筒仓。本合同的担保让贝尔梅霍在祭坛的装饰品,包括的威胁逐出教会如果他不完成它,这表明他不可靠的声誉。^[3]

到底多久贝尔梅霍实际上居住在Daroca并不清楚,但他至少完成一个祭坛的装饰品,致力于圣Engracia(现在分给不同的地方),和一个死去的基督在他的坟墓当地商人,Converso Juan de Loperuelo(位于德尔名卡斯特尔de Perelada)。虽然贝尔梅霍可能不是一个converso本人,他并嫁给一:Daroca寡妇格雷西亚德Palaciano。^[4]

怀疑他的可靠性属实:到1477年,贝尔梅霍前往萨拉戈萨,离开圣多明哥的只有中央面板de竖井装饰画完整并被正式逐出教会。^[5]萨拉戈萨的画家,马丁Bernat同意完成它,但第二个合同,1477年,两位画家之间的协作。分析幸存的电池板的装饰画现在在普拉多,证实了这一点,其他现存横向叙述与Bernat粗风格相关。^[6])。贝尔梅霍逐出教会被撤销的第二个合同的签订后不久,填妥。他在萨拉戈萨和Bernat继续合作,特别是下雪的处女的装饰画胡安Lobera后者的教堂的教会El皮拉尔。(1479)。1482年,贝尔梅霍- 3是一个团队的一部分(包括Bernat)重新应用色彩装饰雪花石膏高坛上祭坛装饰的萨拉戈萨大教堂。这项工作,据了解,他比任何其他的,也为自己坚持私人工作空间没有人,画家或其他人,可以观察他,他工作;另一个不寻常的需求。^[7]

巴塞罗那

是否他短暂地回到瓦伦西亚,贝尔梅霍的晚年是在巴塞罗那,在那里他第一次从事高坛修道院的圣安娜教堂的祭坛装饰(木工合同,1485)幸存的从这个组塑板在1936年被毁,但老照片显示的干预,后来手,开放的可能性,他没有完成这项工作。^[8]在这里,他完成了他的杰作为佳能Lluis Despla我Oms的私人教堂,1490年圣母怜子图,其中包含捐赠者的肖像。其他文件在巴塞罗那关注设计的彩色玻璃窗。禁止接触的警告的巴塞罗那大教堂的洗礼教堂(1495)和两个窗口代表美德Llotja信念和希望的1500年和1501年巴塞罗那(现在销毁)。^[9]证明了他的能力和天赋,尽管巴塞罗那在一次严重的经济萧条时期,贝尔梅霍继续收到佣金从大教堂章和市政府。

风格

除了他的石油釉绘画技巧,可以看到贝尔梅霍的独特风格在他的身体类型,一种活泼的戏剧叙事场景,最重要的是在他关注景观,尤其是在广泛的三部曲的日出日落设置蒙特塞拉特岛的圣母,圣母怜子图。贝尔梅霍独特的风格有很大的影响,尤其是在阿拉贡,广泛传播在马丁Bernat的多产的工作室。然而,这个时候没有人可以复制他的风景。

有三个幸存的作品,结合作品中的艺术家的名字,仍然在这个时期的西班牙绘画:不寻常的圣迈克尔与跪捐助,胡安。安东尼奥三部曲的蒙特塞拉特维珍的捐赠者,弗朗西斯科·德拉基;圣母怜子图佳能Despla。前两个熊模拟羊皮纸上的艺术家的名字,最后发现在框架上的铭文。间接证据也讲的皇室赞助,顿悟了皇家礼拜堂的格拉纳达是个人收藏的一部分伊莎贝拉一世.^[10]

Biography

According to the inscription "OPUS.BARTOLOMEI.VERMEIO.CORDUBENSIS' on the frame of his most famous painting, Canon Lluís Desplà's Pietà, Bermejo, whose real name wasBartolomé de Cárdenas, was born in Córdoba. This theory has been recently cast into doubt, for there is no documentary or stylistic evidence of his presence there.^[1]

Documentation places his activity in four cities of the Crown of Aragon: Valencia(1468), Daroca (1474), Zaragoza (1477–84) and Barcelona (1486–1501).

Career

Although it is unclear where Bermejo received his training, his complete mastery of the oil glaze technique suggests direct contact with 15th century Flemish painting, which he was able to adapt perfectly to the demands of Spanish altarpieces of the period: large-scale retables with many panels. Though his documented career spans over thirty years, he was peripatetic: he never settled in one place for more than a decade. Also, in a period and place where painting was a business, and work was generally negotiated by contract, there is both direct and indirect evidence that he was professionally unreliable, though apparently his outstanding talent made patrons willing to take the risk. At least three major altarpieces that he undertook, the high altar retables of Santo Domingo de Silos in Daroca and Santa Anna in Barcelona, and the triptych of the Virgin of Montserrat in Valencia, were left incomplete for others to finish.

Valencia

Bermejo’s professional career appears to have begun in Valencia in 1468, where he documented in a first payment for an altarpiece dedicated to Saint Michael for the Parish Church in Tous, near Valencia (the central panel of which is currently housed in the National Gallery, London).[1] The patron was a local nobleman, Antonio Juan, to whom Tous belonged. No documentation of other work from that period seems to have survived, but there is evidence that he returned there for a short time around 1485, when he painted the signed central panel of the Triptych of the Virgin of Montserrat, ordered by an Italian merchant who was living there, Francesco della Chiesa, for the Cathedral of Acqui Terme, his hometown. The wings were carried out by the Valencian painter Rodrigo de Osona, though there is some evidence that Bermejo was responsible for at least part of the underdrawing and some of the painting.^[2]

Aragon

By 1474, Bermejo had moved on to the Aragonese town of Daroca, where he signed a contract to paint the high altarpiece for the church of Santo Domingo de Silos. This contract is full of guarantees to keep Bermejo working on the altarpiece, including the threat of excommunication if he didn’t complete it, suggesting his reputation for unreliability.^[3]

Exactly how long Bermejo actually resided in Daroca is not clear; but he did complete at least one other altarpiece there, dedicated to Saint Engracia (now divided among various locations), and a Dead Christ in his Tomb for a local merchant, the Converso Juan de Loperuelo (Museu del Castell de Perelada). Though Bermejo was probably not a converso himself, he did marry one: the Daroca widow Gracia de Palaciano.^[4]

The doubts to his reliability proved true: by 1477, Bermejo had moved on to Zaragoza, having left only the central panel of the Santo Domingo de Silos altarpiece complete and being duly excommunicated.^[5] A Zaragoza painter, Martín Bernat, agreed to finish it, but a second contract, in 1477, was for a collaboration between the two painters. Analysis of the surviving panels of this altarpiece, now in the Prado, confirms this, as the other extant lateral narratives are in the coarser style associated with Bernat.^[6] ). Bermejo’s excommunication was revoked shortly after the signing of the second contract, and it was duly completed. He and Bernat continued to collaborate in Zaragoza, notably in the Altarpiece of the Virgin of the Snows for Juan Lobera for the latter's chapel in the church of El Pilar.(1479). In 1482-3, Bermejo was part of a team (which also included Bernat) that reapplied the polychromy on the alabaster High Altar Retable of Zaragoza Cathedral. For this work, it is known that he was paid more than any of the others, and also insisted on private working space for himself so that nobody, fellow painters or others, could observe him while he worked; another unusual demand at the time .^[7]

Barcelona

Whether or not he briefly returned to Valencia, Bermejo's later years were spent in Barcelona, where he first worked on the High Altar Retable for the convent church of Santa Anna (carpentry contract,1485) the surviving panels from this retable were destroyed in 1936, but old photographs suggest the intervention of a second, later hand, opening up the possibility that he did not finish this work either.^[8] Here, he completed his masterwork for Canon Lluís Desplà i Oms' private chapel, the Pietà in 1490, which contains the donor's portrait. Other documents in Barcelona concern designs for stained-glass windows. the Noli Me Tangere for the baptismal chapel of Barcelona Cathedral (1495) and two windows representing the virtues Faith and Hope for the Llotja of Barcelona in 1500 and 1501 (now destroyed).^[9] It is a testament to his skills and talent that though Barcelona was in a severe economic depression at this period, Bermejo continued to receive commissions from both its Cathedral Chapter and the municipal government.