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Updated: May 22, 2025
"But come again at the same hour to-morrow," said Bardo, graciously, before Tito left the room, "that I may give you Bartolommeo's answer." "From what quarter of the sky has this pretty Greek youngster alighted so close to thy chair, Bardo?" said Bernardo del Nero, as the door closed.
Mariotto left Fra Bartolommeo's house in S. Pier Gattolini, and took a room in Gualfonda now Via Val Fonda a street leading towards the fortress, built by the Grand Duke Cosimo on the north of the city; and here in time quite a school grew up under his tuition.
In March, 1513, Albertinelli was commissioned by the Medici to paint their arms, in honour of Leo X.'s elevation to the papacy. He made a fine allegorical circular picture, in which the arms were supported by the figures of Faith, Hope, and Charity. It is probable that the dissolution of partnership marked the time of Fra Bartolommeo's visit to Rome.
And Raphael never painted them until he had seen Fra Bartolommeo's work. "But now look at Bellini's Madonna" as he turned again to the picture, "for she is as individual as Botticelli's, and is as easily recognizable. Everything else, however, is in perfect keeping from the general attitude and lifted hand to the half-drooping eyelids. Of what is she so proud?
Raphael studied anew Leonardo's principles of colour under Fra Bartolommeo's interpretation of them, and the Frate improved his knowledge of perspective and harmony of composition. It is said they worked together at some pictures, of which one is in France, and another at Milan; but there is not sufficient evidence to prove this.
Bernard's face, his white robe contrasts well with two saints behind him, which carry out Fra Bartolommeo's favourite triangular grouping, and with a rich harmony of colour balance his white robe. The Virgin is drawn with great nobility and grace, her drapery admirably majestic, yet airy, and a sweet, infantile playfulness renders the Child charming.
Although not strictly a scholar, he is one of Fra Bartolommeo's principal followers. When quite a child he lost his father, the famous Domenico, who died of fever, on January 11th, 1494; his mother and uncle Benedetto only lived a few years after; and Ridolfo, with his three sisters and two brothers, was left to the guardianship of his uncle Davide.
The artists got thirty-five lire for the work, though the record in the archives allows that it was worth more. There is an Assumption in the Belle Arti of Florence, of which the design is Fra Bartolommeo's, but the colouring Fra Paolo's. It was painted for the Dominican monks at Santa Maria del Sasso, near Bibbiena.
Titian's chalk-studies, Fra Bartolommeo's, so singularly akin to Andrea del Sarto's, Giorgione's pen-and-ink sketch for a Lucretia, are seen at once by their richness and blurred outlines to be the work of colourists. Signorelli's transcripts from the nude, remarkably similar to those of Michelangelo, reveal a sculptor rather than a painter.
S. Peter, in his vehemence, flings up his arms in a madness of sorrow. S. Paul, with more dignity, is half stupefied with the intensity of woe. If those saints had been left in Fra Bartolommeo's Pieta, the two pictures would have had the very same figures, in each: but how different the composition, feeling, and expression!
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