Home
Français
Introduction
History
Annual Index
Author &
Subject
Credits
Contact
|
Bartolommeo
Veneto and His Portrait of a Lady
by Creighton Gilbert
Pages 1 | 2
| 3 | 4
| 5
| 6
| 7
| 8
| 9
When we turn to the third type
of record - the
inscriptions - the pattern reverses. Bartolommeo
signed his works and inscribed them with other information
- much
more, it seems, than the average painter of his time, possibly
because he felt the lack of fame. (8) The
custom of signing ail
paintings was not yet in use, but we know of nine or ten by
him
from 1502 to 1530. They early attracted the attention of document-minded scholars
- which is fortunate since Bartolommeo's paintings
have, with frustrating frequency, been lost to view when sold from
one private collection to another more secretive one. We thus know
of inscriptions of two paintings that have not been seen for a
generation or more. This includes the earliest, in which Bartolommeo
refers to himself in 1502 as "half Venetian and
half Creroonese." (9)
Writers very naturally have spoken of the local traditions of Venice and Creroona in that connection, but he was certainly
referring to his parentage or something similar. A far more important
inscription has been much less discussed, indeed often omitted
from studies of Bartolommeo, no doubt because of the remoteness of
its own appearance. It was printed as early as 1815, quoting a
manuscript inventory of a collection in Ferrara then already
dispersed, and was not connected with Bartolommeo, who was entirely
unknown; this was done half a century later, but with little effect.
In this inscription of 1509 (Bartolommeo was very likely still in
Ferrara in that year) he calls himself a "pupil of Gentile
Bellini." There are several other cases in which Venetian
artists about 1500 signed works identifying themselves as
someone's pupil, usually Giovanni Bellini's. Thus Bartolommeo's
would have relatively little interest if it were another of the
same, and in fact the inscription is an abbreviation, naming the
teacher "Ze. Be.," differing only in one letter from the
abbreviation for Giovanni Bellini, "Zo. Be.," which may be
another reason for the neglect of the statement. But the relation to
Gentile Bellini (c. 1429 / 1430-1507) is, I think, one of the
keys to understanding Bartolommeo and his art, so far out of the
mainstream. (10)
When late nineteenth-century scholars first assembled works by
Bartolommeo, on the basis of the inscriptions, they tried to
include an altarpiece or two among them, such as appear in the work
of every other artist, but this attempt was soon abandoned. He was
left with only the two clusters of Madonnas and of single heads, the
portraits, saints, and allegories. The Madonnas are predominantly
early works, including the inscribed one of 1502 and another of
1505. The portrait-heads are mostly later in date, including seven
inscribed works of the decade 1520- 1530. (11) While highly
distinctive, the Madonnas are quite standard for their time in
Venice in reflecting compositional types of Giovanni Bellini's,
although this means somewhat less than is often thought. Bartolommeo, like several other painters (notably Cima), departs from
Giovanni's model in more intimate factors of the works - in colour,
modelling, and expressive facial features. This helps to relate
the Madonnas to his later work, yet it is small wonder that historians, confronted with the two groups of paintings, and
without the
help of a Vasari life or the like to offer a focus or a general
line,
have found Bartolommeo to be a scattered figure. (12) The first
scholar who did important work toward assembling the works called
him "protean," and the one who has written most about him
called him "an eternal student." (13)
Yet a study could, I am convinced, discover unifying elements in
Bartolommeo's work, taking the available fragments of biography as
its starting point. No work is now associated with the years at the
court of Ferrara, his only documented residence, but I think that
three can be. What is more, they are portraits, and a group of these
could be firmly inserted into his early career. (14) Later, about
1512, he can, I think, be placed in Padua, where the young Titian
was the magnetic modem figure, and there it can be shown that
Bartolommeo painted his works most praised today, the Rome and
Washington male portraits. (15) The broad, controlled ease of these
portraits marks them, indeed, as of the one phase of his activity
that was in the mainstream, and attached to the forefront of it, as
distinguished from works of his later career when he is so oddly
isolated and, correspondingly, so eccentrically piquant in his
painting. The particular devices he used in this late phase refer
obliquely to his early work in their technique in a way I shall try
to illustrate. Thus while Bartolommeo's protean variety is real,
and is even a startlingly quick jumping about in pictorial solutions
(analogous to the rapid moves among cities where he pursued his
career), nevertheless, moods, attitudes, and even concrete details
of his works do emerge that seem to link his paintings together.
Here only one aspect of his development can be broached, through his
relation to the tradition of portrait painting in his area, the
north of Italy, up to his time. When the Renaissance in Italy made
its first complete appearance in Florence, portraiture hardly played
any role at all - in the teeth of our reasonable assumption that
portraits are so typical a product of the Renaissance. Donatello,
Masaccio, and Uccello produced no portraits; portraits were
noticeably left to minor and more conservative artists now forgotten
(whose surviving works have been honoured with attributions to these
great contemporaries). In the following generation, leading central
Italian artists produced just a few portraits which have great power
and originality, though they account for a very slight proportion
of their creative energy; we see this in Pollaiuolo and Piero della
Francesca. At the same rime numbers of portraits were produced by
artists not of the highest rank, but more distinguished and modern
than in the generation before - notably by such sculptors as Mino da
Fiesole. Stilllater, Botticelli and Leonardo painted a considerable
number of portraits, though they yet remained a minor part of
their oeuvre. But in northern Italy already in the early fifteenth
century, a splendid portrait specialty already existed on the most
brilliant level, starting with Pisanello. His work is at first
associated with the courts of rulers, and with a nostalgic
attachment to the traditions of ornamental pattern of the
International Gothic; yet later, by an imperceptible transition, it
bases itself on ancient Roman authority, as in coins and portrait
busts. Thus the great painters of the next generation, Mantegna and
Giovanni Bellini in Venice and nearby, were at home with
portraiture, and worked at it with a variety of lively experiments
stimulated also by Flemish art. In Milan, in their time, a very
large but low grade production of portraits is noticeable in the
Pisanello tradition, marked at the most mechanical level by the rows
of profiles turned out by the hundreds to decorate the ceiling beams
of mansions. More ambitious and successful, but hardly more
accomplished, is the similarly very stiff portraiture of local
nobility and visiting royalty executed there around 1500 by
Ambrogio de Predis and Bernardino de' Conti.
It does not surprise us, therefore, to find portraiture a vehicle
and a specialty in the courtly side of life in the ritual-conscious
republic of Venice. This is the context of Gentile Bellini, who was
the official artist required to make a portrait of each new doge,
and in the second half of the fifteenth century he was certainly
the one important specialized portrait painter in all of Italy (see
fig. 4). He works a groove that had been opened chiefly by Pisanello,
and had called for a profile with decorations, precise, linear, and
intricate, motionless but individual, a set of coordinates that he
amends toward irregular variability of pose, under the influence of
his brother Giovanni and his brother-in-law Mantegna, so that
something fixed in place can yet be informal and casual. At the same
rime he takes into account in the designs the overtone of official
record-keeping that is responsible for analogy to the Milanese
production.
Next Page | the
Venetian government
1 | 2
| 3 | 4
| 5
| 6
| 7
| 8
| 9
Top of this page
Home
| Français | Introduction
| History
Annual
Index | Author
& Subject | Credits | Contact
This digital collection
was produced under contract to Canada's Digital Collections program,
Industry Canada.
"Digital
Collections Program, Copyright
© National Gallery of
Canada 2001"
|