Bartolomé Bermejo Biography | Oil Painting Reproductions
1440 Córdoba, ESP – 1-16-1501 Barcelona, ESPBack to Artist IndexView Artists Paintings
Bartolomé Bermejo is first recorded by a payment made to him, issued in Valencia in 1468 when a benefactor, Antonio Juan, dispatched him to paint the altarpiece of the Church of San Miguel in Tous.
The presence of vast pictorial and sculptural works in Spanish cathedrals regularly comes as an astonishment to guests. The prolific production of retables mirrored the vivacious creative atmosphere in Spain as the nation advanced toward regional and religious reunification. The Spanish altarpieces were a local interpretation of different artistic impacts and were delightfully unique. The presence of Jan Van Eyck in Spain in 1428 was an indication of the Spanish enthusiasm for Flemish painting, and the trade routes to Naples enabled Spanish artists to acknowledge Italian improvements in the utilization of space in art. The most critical Spanish painters were additionally sharp explorers and the Andalusian Bartolome Bermejo studied in Flanders and voyaged broadly in Aragon and Catalonia. His complete mastery of the oil glaze technique indicates direct contact with Flemish painting, which he could adjust impeccably to the demands of Spanish altarpieces of the period.
Bermejo and The Age of Retables.
It is unclear where Bartolomé Bermejo got his art training. He never settled in any one place for over 10 years. Bermejo's seven-year stay in Zaragoza created no less than one more altarpiece in a joint effort with Martín Bernat, and he additionally was a part of a group that polychromed the alabaster High Altar Retable of Zaragoza Cathedral. A return to Valencia around 1485 brought about the creation of a Flemish-style Triptych of the Virgin of Montserrat. Bartolomé Bermejo's later years were spent in Barcelona, where he worked on the High Altar Retable for the Convent Church of Santa Anna.
Beyond his aptitude in oil glaze painting, Bartolomé Bermejo's unmistakable style can be found in his physical types, an enthusiastic feeling of dramatization in his narrative scenes, and above all in his attention to landscapes, especially in the daybreak and sunset in the Triptych of the Virgin of Montserrat. Bermejo's unmistakable style had a significant impact, especially in Aragon, where it was broadly spread in the productive studio of Martín Bernat.
St Dominic Of Silos, noteworthy and grave in his religious frontality, the saint is wearing a weaved cape so rich in gold that it appears the work of a goldsmith instead of a tailor. The gem encrusted miter, the rich pastoral staff, and the astonishing carved and gilded throne make a magnificent picture in an intense contrast with the striking vivid realism of the saint's solemn features.
Art Movement History: Renaissance
Artists Influencing Bartolome Bermejo: Martín Bernat, Jan Van Eyck
He Traveled To Flanders