had been deeply shocked by the corruption he had seen in
Bullen ('Browning's "Pictor Ignotus" and Vasari's "Life of Fra Bartolommeo
di San Marco', Review of English Studies, n.
Colin Slim investigates the more than twenty extant versions of a painting by Bartolommeo
Veneto depicting a lute-playing woman with identifiable music.
16) These paintings encompass the Early to the High Renaissance, including significant works by Titian, Fra Bartolommeo
It was printed by Demetrius Damilas & Bartolommeo
di Libri for Bernardo and Nerio Nerlio, after 13 January 1488/9, and it was edited by Demetrius Chalcondyles.
for instance, wanted to know the identity of the binding medium (a substance that holds pigments to a surface) in the paint that Bartolommeo
Montagna used in his 1495 painting "The Adoration of the Magi.
Other lots in the disposal auction included four works apiece by Lely and Van Dyck, and three by Kneller as well as paintings and drawings by Watteau, Cranach, Fra Bartolommeo
, Reynolds, Steen and Wilson.
There would have been grumbling, of course, of the type reported by Bartolommeo
Marasca, a Mantuan official in Cardinal Gonzaga's employ, who commented on the "great trouble and outcry of the poor men who do not wish to sell their homes.
Solid scholarship on an understudied Sienese painter, Bartolommeo
Bulgarini, active from 1338 to 1373, and attention given to late Trecento painting are positive contributions, but the strengths of this book are the source of its problems.
Bullen traces the frequent analogies which were drawn between the two groups of painters in the writings of Browning's acquaintances, including Anna Jameson and Richard Monckton Milnes, arguing that "Pictor Ignotus" can be read both as a portrayal of the Primitive Fra Bartolommeo
and of the Nazarenes, especially the prominent figure of J.
The duke then gave one commission to Dosso, while also trying without success to order from Raphael and from the then leading painter of Florence, Fra Bartolommeo
On the first floor of the grim fastness is hidden what may well be the supreme British collection of Italian Renaissance paintings outside Greater London, gathered for the most part with uncommon discernment by a Glasgow coach-builder, Archibald McLellan, who spent much more than he could afford on the purchase for his native city of a collection which included works by Botticelli, Giorgione, Dosso Dossi, Bartolommeo
Veneto, Bordone, Domenichino, Carlo Dolci and Guardi.