Bartolomeo Veneto
Bartolomeo Veneto , also Bartolomeo da Venezia , (* probably around 1480 ; first mentioned April 9, 1502 ; last mentioned 1530 ), was an Italian painter of the High Renaissance .
Life
Bartolomeo Veneto was mainly active in the Veneto and Lombardy . One can only speculate about its origin. In his earliest known picture, dated April 9, 1502, a Maria with the child , he described himself as bartolamio mezo venezian e mezo cremonexe , i.e. half a Venetian and half a Cremonese . This suggests that it could possibly come from the Cremonese area. However, there are also assumptions that he actually came from the Bergamese region or learned his trade as a portraitist there. The reason for this assumption is the fact that Bartolomeo Veneto created an extraordinary number of decorative portraits of high quality, an art movement in which artists from Bergamo had created excellent.
The earliest surviving pictures of Bartolomeos are, however, predominantly religious in character and unmistakably show the influence of the Venetian school. At an early age he came under the influence of Giovanni Bellini , whose picture construction schemes he adopted and whose compositions he partially reproduced. On a Madonna tablet from 1509 he describes himself as a pupil of Gentile Bellini . For a long time, some of his early works were also regarded as personal works by the Bellini brothers. In addition to the Bellini, he was also inspired by Antonello da Messina . Nordic artists, in particular Albrecht Dürer and Lucas van Leyden, also had a lasting influence on him.
Presumably Bartolomeo belonged to that group of Venetian artists such as B. Jacopo de 'Barbari , Marco Marziale and Benedetto Diana , who enthusiastically received the innovations that Dürer brought to Venice and implemented them in their works. Despite all these influences, it is noticeable that Bartolomeo also adhered to long-outdated views in some things; the hardness of the contours he painted is very reminiscent of the style of Alvise Vivarini . Only later, after a stay in Ferrara and Milan , did he take over the soft, round transitions of Lombard painting and thus approached Leonardo da Vinci in particular .
Bartolomeo Veneto must have enjoyed an excellent national reputation, especially as a portraitist, because he was given numerous commissions of this kind. Some particularly close contacts seem to have existed with Ferrara, because in 1516 he received, among other things, the commission for the San Antonio convent in Polesine near Ferrara to paint the now lost portrait of San Contardo d'Este. A portrait of the founder of the monastery, Beata Beatrice d'Este, followed later. For this reason Venturi put forward the thesis in 1899 that Bartolomeo Veneto was identical to the painter of the same name, who was proven at the court of Lucrezia Borgia between 1505 and 1508 . But this assumption is now considered outdated, as a document has now been found that mentions this as early as 1473, so that it was a lot older than the Bartolomeo discussed here.
In addition to his stays in Ferrara and Milan, Bartolomeo also stayed in other cultural strongholds in Italy. In the Padua area in particular , as various works show, he seems to have stayed for a long time. It becomes clear that Bartolomeo distanced himself further and further from the Venetian conception of art. While in the first years of his absence from Venice the Nordic influences predominate in his pictures, later those of the Leonardo School dominate. Giovanni Antonio Boltraffio and Bernardino Luini in particular seem to have had a strong influence on him. Presumably through Francesco Francia he was also introduced to the work of Raphael .
Nevertheless, his contacts in Venice do not seem to have broken off completely, because in the later works one can also find echoes of the works of Giorgione , Tizian and Lorenzo Lotto . In the last years of his life there was also a knowledge of painting from Brescia , in particular Moretto da Brescia and Giovanni Savoldo . Bartolomeo began to experiment more with light and shadow.
He seems to have died around 1530/1531. It is known through a document that a Bartolomeo Veneto died in Turin in 1531. So far, however, it has not been possible to establish whether this is the painter discussed here. In any case, the Piedmontese school did not leave any reference points in his last paintings.
Act
Bartolomeo Veneto painted almost exclusively portraits and religious pictures. More than almost any other artist of his time, he succeeded in combining the influences of the Nordic and the various Italian schools. He is characterized by a high understanding of reality and careful attention to detail. With their imaginative clothes and decorative elements, his portraits are among the best that he has painted.
Selected Works
painting
- Ajaccio, Musée Fesch
- Maria with the child. 1509
- Bergamo, Galleria dell'Accademia Carrara
- Maria in the landscape. 1505
- Berlin, Gemäldegalerie
- Maria with the child. around 1515
- Boston, Museum of Fine Arts
- Saint Catherine of Alexandria.
- Brno, Morawska Gallery
- Portrait of a nobleman in pilgrim costume.
- Budapest, Szépmüvészeti Múzeum
- Portrait of a Man. around 1520/1530
- Cambridge, Fitzwilliam Museum
- Portrait of a nobleman in pilgrim costume.
- Cleveland, Cleveland Museum of Art
- Portrait of a Young Man. around 1510-1520
- Detroit, Institute of Art
- Portrait of a Man.
- Dresden, Old Masters Picture Gallery
- Salome with the head of John the Baptist . around 1520
- Florence, private collection
- The concert. 1520
- Frankfurt am Main, Städelsches Kunstinstitut
- Narcissus. (was previously painted over as Saint Catherine)
- Flora, idealized portrait of a courtesan , formerly incorrectly as Portrait Lucrezia Borgia viewed
- Glasgow, Art Gallery
- Saint Catherine.
- Houston, Museum of Fine Arts
- Portrait of a Man. around 1512
- Houston, Sarah Campbell Blaffer Found
- Portrait of a Woman.
- London, National Gallery
- Portrait of Ludovico Martinengo. around 1546
- Portrait of a Woman.
- Los Angeles, J. Paul Getty Museum
- The lute player . around 1530 (with workshop participation)
- Madrid, Thyssen-Bornemisza Museum
- Portrait of a Man. around 1525 - 1530
- Milan, Pinacoteca Ambrosiana
- Mary with the child and the boy John. around 1520–1525
- Portrait of Bernardino da Lesmo.
- Milan, Pinacoteca di Brera
- The lute player . 1520
- Milan, Pinacoteca del Castello Sforzesco
- Portrait of Alfonso Visconti. 1516
- Portrait of Antonia Gonzaga. 1516
- Milan, private collection
- Portrait of a Jewish woman or courtesan with a hammer.
- Milan, Collezione Conte Venino
- Portrait of a Man. 1525
- Munich, Alte Pinakothek
- Portrait of a Young Man.
- Ottawa, National Gallery of Canada
- Portrait of a noblewoman.
- Paris, Musee National du Louvre
- The circumcision of Christ. 1506
- Rome, Collezione Albertini
- Mary with the Child (Madonna della pera).
- Rome, Galleria Nazionale d'Arte Antica
- Portrait of a nobleman. around 1520
- San Diego, Timken Art Gallery
- Portrait of a Woman. around 1530
- South Bend, The Snite Museum of Art
- Portrait of Beata Beatrice d'Este. around 1510
- Washington, National Gallery of Art
- Portrait of a nobleman. around 1520
- Whereabouts unknown
- Maria with the child. 1502 (auctioned at Sotheby's in London in 1959)
- Portrait of a Man. around 1520–1525 (auctioned on January 27, 2005 at Sotheby's in New York)
- Portrait of a Man. (formerly Venice, Coll. Cini)
- Maria with the child. (Auctioned at Sotheby's in London in 1985)
- Mary with the child and the boy John. (formerly Milan, Coll. Bozzotti)
- Portrait of a noblewoman. (formerly Paris, Rothschild collection)
drawings
- Vienna, Graphic Collections Albertina
- Portrait of a Young Man. (attributed)
literature
- Kindler's painting dictionary. Kindler Verlag, Zurich 1964–1971.
Web links
Individual evidence
| personal data | |
|---|---|
| SURNAME | Veneto, Bartolomeo |
| ALTERNATIVE NAMES | Bartolomeo da Venezia |
| BRIEF DESCRIPTION | Italian-Venetian painter |
| DATE OF BIRTH | around 1480 |
| DATE OF DEATH | after 1530 |