Baccio Della Porta Essay Example For Students

Baccio Della Porta Essay Even the average person with little or no background in art may have heard the names Leonardo da Vinci, Michaelangelo, or Raphael. Not only because they are the most famous and noteworthy painters, sculptors, draughtsmen, designers, and inventors of the high renaissance, but also because of the countless stories and movies, fact and fiction which included these men and at least mentioned their importance, relevance, and influences on today7s world. Many children have grown up already knowing these names, and perhaps that they were artists however simplistic that may be, after the explosion of the Teenage Mutant Ninja Turtles in the late eighties. Perhaps there is one high renaissance artist who does not always recieve due credit, but who was influencial just the same. One such artist was Baccio della Porta, a Florentine renaissance painter. Baccio della Porta was born in Florence, Italy in 1472. As historians know, most artists went into apprenticeship at about the age of eleven or twelve at this time in Florence. Taking this into account, it is assumed that Baccio did become an apprentice of Cosimo Rosselli at that age since he was well known in his workshop by 1485. 1 Baccio della Portas master or teacher, Cosimo Rosselli, had probably just returned from his work in Rome in the Sistine Chapel. It is also known that the average length of time for an artists apprenticeship was about six to eight years, putting Baccio on his own around 1490. 2 According to many modern art historians, Vasari is the most reliable source of information on the life and works of Fra Bartolommeo after he entered the Dominican Order and became a brother. Baccio della Porta and a pier of his, as well as a fellow student of the arts, Mariotto Albertinelli became intimate friends during their apprenticeships. Following their apprenticeship the two decided to work proffesionally together at the home of Baccio della Porta. They made this decision to work together in 1491, but their partnership and friendship apparently ended when they went their own ways in styles and choices of schools to follow and associate with4. Baccio della Porta joined the followers of Savonarolas, Mariotto associated with the Medici followers, specifically working for the patron Alfonsina Orsini who was the wife of Piero de Medici. After Savonarolas was burned during the violent riots of the arrabiati. Chris Fischer writes that there must have been countless works executed between Mariotti Albertinelli and Baccio della Porta during this period of upheaval when Savonarolas was murdered because he was thought to be a heretic. 5 However, because of this violent period, few of these works can be acredited to one painter or another. The obvious and evident recognizable influences by master artists were reflected in many works, which helped to narrow some works down to the style of the Cosimo Rosselli school. As Baccio della Porta began to develop his own style which was naturally to give purpose, meaning, and religious order, he then made a permanent and important step in his life. 6 Baccio della Porta was deeply moved after witnessing the preaching of Savonarola and decided to join the Dominican Brotherhood around 1500. 7 Once Baccio della Porta had withdrawn into the convent he retired from painting for some time. This difficult decision must have built character, something which is a definite plus in the life of an aspiring artist. After joining the convent Baccios name changed to Fra Bartolommeo as he is known today. His style showed a truth and need to preach of religion and righteousness. Although Fra Bartolommeos purpose reflected in his works was noble and honest, he was not exactly a revolutionary with much to say. His figure-style, composition, symbolism, rhythm, mastering of chiaroscuro, his beautiful handling of flowing draperies, and his simplicity all reflect his goal of ridding the world of vanity. Rumi and Painting Analysis EssayFigure 6, Fra Bartolommeos Pieta which rests in Pitti Florence, Italy. Idealism is a prevailing factor in this work because of the existing fact that Christ does not resemble a truly dead corpse, for his head lies almost as if sleeping and no serious wounds can be seen. Emotion is expressed through the passionate embrace by Mary Magdalen at Christs feet and the gentle motherly touch by the Mary. 12 yet another example of idealism in this work is the fact that Jesus is supposed to be about 33 years old, while his mother appears to be no older than 25. In Lucca Academy in Florence, Bartolommeos Madonna of Mercy can be seen, a painting from 1515. This is yet another example of the Fras perfected technique of including a mass of figures in one scene without crowding the composition, partially by utilizing a path for the figures. The eye of the viewer is allowed to move about the work via the small stairs, first leading up towards the Madonna. The subtle hierarchic scale of the Madonna and the floating angels and Christ figures only amplify the glory, nobility, and importance of the scene. During 1509 Fra Bartolommeo completed figure 8 God the Father and two Saints, a work inspired by the same emotion as in the St. Bernard and thus the two are often compared. The drapery is perhaps more flowing and spiritually symbolic in this work than in the St. Bernard. The composition retains Bartolommeos strong order and compostion style, with the holy and important figure centered and floating above the rest of the figures, adding a theatrical appearance to the audience viewing this altar piece. God the Father and two Saints holds numerous contrasts to Raphaels Sistine Madonna, although both contain kneeling and floating figures. The landscapes are also treated differently in that Bartolommeo creates calm depth and atmosphere with his flat distant landscape. 13 This work is probably a fine example of Fra Bartolommeos mature style of the figure, composition, and his rhythmic, largescale compositions which were and are meant to motivate the audience, normally of a Roman Catholic background, to abandon vanity and meaningless detail and to focus on life as a whole. Maybe Bartolommeo wanted people to live their lives this way, thus providing a simple yet noble moral explaining his view that life should be lived not feared. That trivial incidents and circumstances do not affect the outcome in the end. As Heinrich Wolfflin wrote in similar words, Fra Bartolommeo may not have had much to say as a High Renaissance painter, but what he did say he said with conviction.