{"Id":2757,"Name":"Fra Bartolommeo","Biography":"\u003Cstrong\u003EBARTOLOMMEO DI PAGHOLO, FRA (1472-1517),\u003C/strong\u003E the Italian historical and portrait painter, known also as BACCI0 (short for Bartolommeo) DELLA PORTA (because he lived near the Porta Romana), was born at Soffignano, near Florence, in 1475, and died at Florence in 1517. He received the first elements of his artistic education from Cosimo Rosselli [1439-1507]; and after leaving him, devoted himself to the study of the great works of \u003Ca href=\u0022/asp/database/art.asp?aid=186\u0022 target=\u0022_blank\u0022 class=\u0022link\u0022\u003ELeonardo da Vinci\u003C/a\u003E [1452-1519]. Of his early productions, which are distinguished for their grace and beauty, the most important is the fresco of the \u003Cu\u003ELast Judgment\u003C/u\u003E, in which he was assisted by his friend Mariotto Albertinelli [1474-1515]. While he was engaged upon some pieces for the convent of the Dominican friars, he made the acquaintance of [Girolamo] Savonarola [1452-1498], who quickly acquired great influence over him, and Bartolommeo was so affected by his cruel death, that he soon after entered the convent, and for some years gave up his art. He had not long resumed it, in obedience to his superior, when \u003Ca href=\u0022/asp/database/art.asp?aid=124\u0022 target=\u0022_blank\u0022 class=\u0022link\u0022\u003ERaphael\u003C/a\u003E [1483-1520] came to Florence and formed a close friendship with him. Bartolommeo learned from the younger artist the rules of perspective, in which he was so skilled, while Raphael owes to the frater the improvement in his coloring and handling of drapery, which was noticeable in the works he produced after their meeting. Some years afterwards he visited Rome, and was struck with admiration and a feeling of his own inferiority when he contemplated the masterpieces of \u003Ca href=\u0022/asp/database/art.asp?aid=123\u0022 target=\u0022_self\u0022 class=\u0022link\u0022\u003EMichelangelo\u003C/a\u003E [1475-1564] and Raphael. With the latter, however, he remained on the most friendly terms, and when be departed from Rome, left in his hands two unfinished pictures which Raphael completed. Fra Bartolommeo\u0027s figures had generally been 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 St Mark (his masterpiece, at Florence), and the undraped figure of St Sebastian. The latter was so well designed, so naturally and beautifully colored, and 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. The majority of Bartolommeo\u0027s compositions are altar-pieces. They are remarkable for skill in the massing of light and shade, richness and delicacy of coloring, and for the admirable style in which the drapery of the figures is handled, Bartolommeo having been the first to introduce and use the lay-figure with joints.\u003Cbr\u003E\u003Cbr\u003E\u003Cstrong\u003E\u003Cu\u003ESource:\u003C/u\u003E\u003C/strong\u003E Entry on the artist in the \u003Ca href=\u0022http://91.1911encyclopedia.org/B/BA/BARTOLOMMEO.htm\u0022 target=\u0022_blank\u0022\u003E1911 Edition Encyclopedia\u003C/a\u003E; additional information may be found in the \u003Ca href=\u0022http://www.newadvent.org/cathen/02318a.htm\u0022 target=\u0022_blank\u0022 class=\u0022link\u0022\u003ECatholic Encyclopedia\u003C/a\u003E and in Vasari\u0027s \u003Ca href=\u0022http://www.artist-biography.info/artist/fra_bartolommeo/\u0022 target=\u0022_blank\u0022 class=\u0022link\u0022\u003ELives\u003C/a\u003E.\u003Cp\u003E","Awards":null,"HasAlbums":false,"HasPortraits":true,"HasRelationships":true,"HasArticles":false,"HasDepictedPlaces":false,"HasLetters":false,"HasLibraryItems":false,"HasProducts":false,"HasSignatures":false,"HasVideos":false,"HasMapLocations":true,"TotalArtworks":8}