Online Encyclopedia
Search over 40,000 articles from the original, classic Encyclopedia Britannica, 11th Edition.
BARTOLOMMEO DI PAGHOLO, FRA (1475-1517)
Online EncyclopediaEncyclopedia Home :: BAR-BEC
del.icio.us it!
|
BARTOLOMMEO DI PAGHOLO, FRA (1475-1517) , the See also:Italian See also:historical and portrait painter,—known also as See also:BAccIo (See also:short for Bartolommeo) DELLA PORTA (because he lived near the Porta See also:Romans), was See also:born at Soffignano, near See also:Florence, in 1475, and died at Florence in 1517. He received the first elements of his See also:artistic See also:education from Cosimo Roselli; and after leaving him, devoted himself to the study of the See also:great See also:works of Leonardo da See also:Vinci. Of his See also:early productions, which are distinguished for their See also:grace and beauty, the most important is the See also:fresco of the Last See also:Judgment, in which he was assisted by his friend Mariotto See also:Albertinelli. While he was engaged upon some pieces for the See also:convent of the Dominican friars, he made the acquaintance of See also:Savonarola, who quickly acquired great See also:influence over him, and Bartolommeo was so affected by his cruel See also:death, that he soon after entered the convent, and for some years gave up his See also:art. He had not See also:long resumed it, in obedience to his See also:superior, when See also:Raphael came to Florence and formed a See also:close friendship withhim. Bartolommeo learned from the younger artist the rules of See also:perspective, in which he was so skilled, while Raphael owes to the (See also:rate the improvement in his colouring and handling of drapery, which was noticeable in the works he produced after their See also:meeting. Some years afterwards he visited See also:Rome, and was struck with admiration and a feeling of his own inferiority when he contemplated the masterpieces of See also:Michelangelo and Raphael. With the latter, however, he remained on the most friendly terms, and when he departed from Rome, See also:left in his hands two unfinished pictures which Raphael completed. Fra Bartolommeo's figures had generally been small and draped. These qualities were alleged against him as defects, and to prove that his See also:style was not the result of want of See also:power, he painted the magnificent figure of St See also:Mark (his masterpiece, at Florence), and the undraped figure of St See also:Sebastian. The latter was so well designed, so naturally and beautifully coloured, and so strongly expressive of suffering and agony, that it was found necessary to remove it from the See also:place where it had been exhibited in the See also:chapel of a convent. The See also:majority of Bartolommeo's compositions are See also:altar-pieces. They are remarkable for skill in the massing of See also:light and shade, richness and delicacy of colouring, and for the admirable style in which the drapery of the figures is handled, Bartolommeo having been the first to introduce and use the See also:lay-figure with See also:joints. Additional information and CommentsThere are no comments yet for this article.
» Add information or comments to this article.
Please link directly to this article:
Highlight the code below, right click, and select "copy." Then paste it into your website, email, or other HTML. Site content, images, and layout Copyright © 2006 - Net Industries, worldwide. |
|
|
[back] BARTOLOMMEI, MARQUIS FERDINANDO |
[next] BARTOLOMMEO VIVARINI |