巴尔托洛梅奥.威尼托Bartolomeo Veneto（1502年—1546年），意大利画家。
巴特的早期作品由小的图片。巴特洛改变了他的主题来适应他顾客随着兴趣肖像画的成长在威尼斯和威尼托。他的肖像画成为很欢迎,在他晚年巴特获得许多佣金在意大利北部。
虽然四十绘画桑巴特鲁姆被普遍接受的只有九个铭文与艺术家的名字。第四个公认的作品是虔诚的画作,画在他早期的职业生涯。他所有的作品都在木(一些后来搬到画布。)他似乎没有得到公众的佣金和他的大部分工作由肖像画。
巴特洛最早的约会处女和儿童工作,从1502年熊一个有趣的签名很重要我们理解画家的风格,发展“Bartolamio级别venizian e级别cremonexe”(“巴特half-Venetian half-Cremonese。”)铭文揭示了画家的公民,以及引用他的不同风格的影响。贝里尼的威尼斯反映了他一半的知识。对阵的对阵表明一些知识学校创办的朱里奥皮.
另一个铭文是发现类似的处女和孩子。铭文是难以阅读和日期不详。左边是“7 4月15日…bartolamio年代……o de z……桑巴特鲁姆”假设上的绘画表明他是一个学生非犹太人(Zentile)贝里尼。
巴特洛很可能已经“巴特洛达威尼西亚”埃斯特法庭记录为工匠的服务从1505年到1507年。桑巴特鲁姆,镀金的框架和嘉年华装饰和绘画一个处女了圣人。
植物从c。1515年目前归因于巴特。未知的图绘有硬边和一个描述性的质量。虽然保姆是未知的,她被认为(也许是错误的)Lucrezia博尔吉亚。接近浮世绘,这幅画可能是应对类似的画作乔尔乔内包括劳拉。巴特洛把图在黑色背景前,一个主题,将会对他后期的作品,如圣凯瑟琳,莎乐美与圣施洗约翰的头,和夫人玩琴。
文件显示巴特去帕多瓦1512年和1520年米兰。列奥纳多·达·芬奇最近米兰,他改变了当前的阴谋和平凡的肖像画到一个晕涂法。达芬奇的效果是明显在巴特的发展风格对比了植物和夫人玩琴。植物的头发是平的,每个详细的单链作画,很多细节的鲜花和珠宝挂在她的身体。夫人玩琴的图更三维的重点明暗对比的。她的头发,而不是单个链,有整体的感觉,同时仍然分开。
Bartolomeo’s early works consist of small devotional pictures. Bartolomeo changed his subject matter to suit his patronsas the interest in portraiture grew in Venice and the Veneto. His portraits became quite popular and in his later life Bartolomeo obtained many commissions in Northern Italy.
While forty paintings are generally accepted to be by Bartolomeo, only nine bear inscriptions with the artist's name. A fourth of the generally accepted works are devotional paintings, which were painted during his early career. All of his paintings were done on wood (few were later moved to canvas.) He appears to have received no public commissions and the majority of his work consists of portraiture.
Bartolomeo’s earliest dated work Virgin and Child, from 1502 bears an interesting signature important to our understanding of the painter’s developing style, "Bartolamio mezo venizian e mezo cremonexe" (“Bartolomeo half-Venetian and half-Cremonese.”) The inscription sheds light on the painter’s citizenship, as well as a reference to his diverse stylistic influence. The Venetian half reflects his knowledge of Bellini. The Cremonese suggests some knowledge of the Cremonese school founded by Giulio Campi.
Another inscription is found on a similar Virgin and Child. The inscription is difficult to read and the date is unknown. What is left is "7 April 15... bartolamio s...o de z...be..." It is assumed that Bartolomeo inscribed the painting to indicate that he was a pupil of Gentile (Zentile) Bellini.
Bartolomeo is very likely to have been "Bartolomeo da Venetia" who the Este court recorded as a craftsman in its service from 1505-1507. There, Bartolomeo gilded frames and made carnival decorations along with painting a Virgin with saints.
Flora from c. 1515 is currently attributed to Bartolomeo. The unknown figure is painted with hard-edges and a descriptive quality. Though the sitter is unknown, she is thought (and perhaps wrongly) to be Lucrezia Borgia. Close to a genre painting, the painting could be a response to similar paintings by Giorgione including the Laura. Bartolomeo placed the figure in front of a black background, a theme that would follow in his later paintings such as Saint Catherine, Salome with the Head of the St. John the Baptist, and Lady playing a Lute.
Documents suggest Bartolomeo went to Padua in 1512 and Milan in 1520. Leonardo da Vinci had recently been to Milan, where he transformed the current mundane portraiture into one of intrigue and sfumato. Leonardo's effect is evident in Bartolomeo's developing style when juxtaposing Flora and Lady playing a Lute. Flora's hair is flat and each detailed single strand is painted, much detail is paid to the flowers and jewelry draped across her body. Lady Playing a Lute's figure is more three-dimensional with an emphasis of chiaroscuro. Her hair, rather than individual strands, has some sense of being whole while still being separate.
1、本站美术网信息均来自于美术家自己或其朋友、网络等方式，本站无法确定每条信息或事件的真伪，仅做浏览者参考。
2、只要用户使用本站则意味着该用户以同意《本站注册及使用协议》，否则请勿使用本站任何服务。
3、信息删除不收任何费用，VIP会员修改信息终身免费(VIP会员点此了解)。
4、未经本站书面同意，请勿转载本站信息，谢谢配合！
