布拉曼蒂诺Bramantino

布拉曼蒂诺Bramantino（1456年—1530年），是一个意大利画家和架构师,主要活跃在他的家乡米兰。

中文名布拉曼蒂诺
外文名Bramantino
性别男
国籍意大利
出生地米兰
出生日期1456年
逝世日期1530年
职业画家

传记

他出生在米兰阿尔贝托Suardi的儿子,但他的传记仍不清楚,是长期复杂的由两个“Pseudo-Bramantinos”。他被训练Donato布拉曼特,采用一种小型的主人的名字。这种培训给他的影响乌尔比诺十五世纪固定的传统现实主义,后来他被同化的一些元素达芬奇的风格,他来到米兰之后,虽然在其他方面他仍然忠于他的培训风格的意大利中部。

他是记录在1508年底帮助的装饰梵蒂冈Stanze虽然没有什么是他的工作,在1509年他回到了米兰。他的风格发生了极大的改变在他的职业生涯中,也显示了强烈的个人特质。他的主要影响是宁静,有时不自然的寂静主义的古典风格佛朗西斯,列奥纳多·达·芬奇,Ercole de”Roberti,但他的作品也显示有时令人不安的固定表达类似的只有最后的这三个。

“Pseudo-Bramantinos”

有提到Bramantino da米兰瓦萨里在他的传记佛朗西斯,Il Garofalo,Girolamo da腕,雅格布Sansovino。瓦萨里的Bramantino,如果他存在,工作了教皇尼古拉斯五世在1450年和1455年之间。^[2]如果是这样,那么他之前提到的作品巴特Suardi。

艺术家长期称为pseudo-Bramantino是活跃的那不勒斯在16世纪早期;^[3]他现在是通常确认为西班牙人,叫佩德罗·费尔南德斯,皮耶罗Francione,或各种其他的名字。^[4]

成熟的作品

Bramantino,麦当娜和孩子在1508年之前,可能

1508年,他参与罗马。Donato布拉曼特教Bramantino架构和大师的学生协助教会的内部的执行圣玛丽亚presso圣Satiro,米兰。

在绘画中,他执行许多著名人物的肖像梵蒂冈。他最早的作品诞生(1490年代布雷拉)和《(大约在1495年,Thyssen-Bornemisza收集)。^[5]他最著名的作品之一是忧郁来拜》(1495 - 98),^[6]在国家美术馆的伦敦。除了冷漠的、emotion-dry古典风格和纯度的对称的几何逻辑,^[7]这个数字是值得注意的建筑的富有想象力的剖视了奇特的山背景。

圣母怜子图壁画(c。1505年,现在在Ambrosiana)处于支离破碎的状态。^[8]1508年以前,他设计的几个月的挂毯吉安Giacom Trivulzio(现在在加莱Sforzesco)。圣迈克尔坛(或为与圣Ambrogio和圣迈克尔麦当娜和孩子)的Biblioteca Ambrosiana,^[9]引人注目的透视方法杀(代表一个人阿里乌斯派信徒异端”)之前,表情冷峻的圣人安布罗斯和巨大的死青蛙(象征撒旦),圣迈克尔在前台和冷漠的圣人,日期在1510年之后。Freedberg看到在这幅画Leonardo-based冲动限制的绘画世界里near-abstract严格的几形状,特点是“迫在眉睫的轮廓的想象和无人居住的建筑,采用规则和广场,地位日益重要。“数据,即使想背叛感情,出现空缺,遥远,“自动机”作为棋子局限于几何运动,共同点佛朗西斯的早期作品。另一个杰作是布雷拉十字架(c . 1510—1510)。^[10]

1525年Bramantino被任命为师的法院杜克弗朗西斯(2)斯福尔扎,他在米兰国防援助作为一个工程师给他带来了大量的奖励。^[2]

English Introduction

Biography

He was born in Milan, the son of Alberto Suardi, but his biography remains unclear, and was long complicated by two "Pseudo-Bramantinos". He was trained byDonato Bramante, adopting a diminutive form of his master's name. This training gave him influences from by the Urbino quattrocento tradition of immobile realism, and later he assimilated some elements of the style of Leonardo, after he arrived in Milan, although in other respects he remained faithful to his training in the style of Central Italy.

He is documented in late 1508 as helping in the decoration of the Vatican Stanzethough nothing remains of his work there, and by 1509 he was back in Milan. His style changed considerably during his career, and also shows strongly individual traits. His main influences were the serene and sometimes unnatural quietist classicism of Piero della Francesca, Leonardo da Vinci, and Ercole de' Roberti, but his works also display a sometimes disquieting immobile expressiveness comparable only to the last of these three.

The "Pseudo-Bramantinos"

There is a mention of a Bramantino da Milano by Vasari in his biographies of Piero della Francesca, Il Garofalo, Girolamo da Carpi, and Jacopo Sansovino. The Bramantino of Vasari, if he existed at all, worked for Pope Nicholas V between 1450 and 1455.^[2] If so, then he worked prior to the cited works of Bartolomeo Suardi.

An artist long known as the pseudo-Bramantino was active in Naples in the early 16th century;^[3] he is now usually identified as a Spaniard, called Pedro Fernández, Piero Francione, or various other names.^[4]

Mature works

In 1508 he was engaged in Rome. Donato Bramante taught Bramantino architecture, and the pupil assisted the master in the execution of the interior of the church of Santa Maria presso San Satiro, Milan.

In painting, he executed a number portraits of celebrated personages for the Vatican. His earliest known works are a Nativity (1490s, Brera) and an Ecce Homo (circa 1495, Thyssen-Bornemisza Collection).^[5] One of his best known works is somber Adoration of the Magi (1495–98),^[6] in the National Gallery of London. In addition to the impassive, emotion-dry classicism, and the symmetric geometric logic of purity,^[7] this figure is notable for the imaginative cut-away of the building revealing a fanciful mountain backdrop.

A Pietà fresco (c. 1505, now in Ambrosiana) is in fragmentary state.^[8] Before 1508, he designed the tapestries of the Months for Gian Giacom Trivulzio (now in Castello Sforzesco). The Saint Michael Altar (or Enthroned Madonna and child with Saint Ambrogio and Saint Michael) at the Biblioteca Ambrosiana,^[9] notable for the foreshortened slain man (representing an Arian heretic") before a tough-looking SaintAmbrose and giant dead frog (symbolizing Satan) with Saint Michael in the foreground and impassive saints, dates to after 1510. Freedberg sees in this painting a Leonardo-based impulse to circumscribe the painting to a world where near-abstract rigorous geometry, characterized by "looming silhouettes of imagined and unpeopled architecture, constructed with a rule and square, take increasing prominence." The figures, even when trying to betray emotion, appear vacant, distant, "automata" confined as pawns to a geometric exercise, something in common with Piero della Francesca's earlier works. Another masterpiece is the Brera Crucifixion (c. 1510-1520).^[10]

In 1525 Bramantino was appointed architect to the court by Duke Francis (II) Sforza, and his aid as an engineer in the defence of Milan brought him a multitude of rewards

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信息统计与维护

美术百科参考资料

1、Bramantino