Fra Bartolomeo · 1516
Republic of Florence · 1472–1517
Fra Bartolomeo or Bartolommeo, also known as Bartolommeo di Pagholo, Bartolommeo di San Marco, Bartolomeo di Paolo di Jacopo del Fattorino, and his original nickname Baccio della Porta, was an Italian Renaissance painter of religious subjects. He spent all his career in Florence until his mid-forties, when he travelled to work in various cities, as far south as Rome. He trained with Cosimo Rosselli and in the 1490s fell under the influence of Savonarola, which led him to become a Dominican friar in 1500, renouncing painting for several years. Typically his paintings are of static groups of figures in subjects such as the Virgin and Child with Saints. He was instructed to resume painting for the benefit of his order in 1504, and then developed an idealized High Renaissance style, seen in his Vision of St Bernard of that year, now in poor condition but whose "figures and drapery move with a seraphic grace that must have struck the young Raphael with the force of revelation".
Independent artist guide by Momentable. Biography from Wikipedia; artworks credited to the museums that hold them.
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Presentation of Christ in the Temple
Fra Bartolomeo · 1516
Kunsthistorisches Museum
What Fra Bartolomeo made, and why each one is worth looking at.
Presentation of Christ in the Temple
Fra Bartolomeo · 1516
Kunsthistorisches Museum
Presentation of Christ in the Temple is an oil-on-wood painting by the Italian Renaissance painter Fra Bartolomeo, most likely commissioned by Pope Leo X for the Epiphany of 1516. It originally hung in the novices' chapel in San Marco, Florence. It is inscribed with the year 1516.
From the record of their own practice.
Initially, his works showed the influence of Rosselli's assistant, Piero di Cosimo, and those of Domenico Ghirlandaio and Filippino Lippi. After his hiatus from 1500 to 1503, he seemed to change vision, taking from Raphael the representation of light and its effects over moving shapes. Fra Bartolomeo's figures are generally small and draped. These qualities were alleged against him as defects, and to prove that his style was not the result of want of power, he painted the magnificent figure of the St Mark Evangelist (ranked as his masterpiece), and the undraped figure of Saint Sebastian. It is alleged that the latter was felt to be so strongly expressive of suffering and agony, that it was found necessary to remove it from the place where it had been exhibited in the chapel of a convent.
The museums that hold it, and their visitor guides.
Artists held by the same museums.

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View on MomentableIndependent guide by Momentable · biography from Wikipedia · artworks are in the public domain and credited to the museum that holds them