This was the case with Fra Bartolommeo(ITALIAN PAINTING)

This was the case with Fra Bartolommeo (1475-1517), a monk of San Marco, who was a transition painter from the fifteenth to the sixteenth century. He was a religionist, a follower of Savonarola, and a man of soul who thought to do work of a religious character and feeling; but he was also a fine painter, excelling in composition, drawing, drapery, color. The painter's element in his work, its material and earthly beauty,oil paintings for sale, rather detracted from its spiritual significance. He opposed the sensuous and the nude, and yet about the only nude he ever painted—a St. Sebastian for San Marco—had so much of the earthly about it that people forgot the suffering saint in admiring the fine body, and the picture had to be removed from the convent. In such ways religion in art was gradually undermined, not alone by naturalism and classicism but by art itself. Painting brought into life by religion no sooner reached maturity than it led people away from religion by pointing out sensuous beauties in the type rather than religious beauties in the symbol. art oil painting
Fra Bartolommeo was among the last of the pietists in art. He had no great imagination, but some feeling and a fine color-sense for Florence. Naturally he was influenced somewhat by the great ones about him, learning perspective from Raphael, grandeur from Michael Angelo, and contours from Leonardo da Vinci. He worked in collaboration withAlbertinelli (1474-1515),canvas paintings for sale, a skilled artist and a fellow-pupil with Bartolommeo in the workshop of Cosimo Rosselli. Their work is so much alike that it is often difficult to distinguish the painters apart. Albertinelli was not so devout as his companion, but he painted the religious subject with feeling, as his Visitation in the Uffizi indicates. Among the followers of Bartolommeo and Albertinelli wereFra Paolino (1490 1547), Bugiardini (1475-1554), Granacci (1477-1543), who showed many influences, and Ridolfo Ghirlandajo (1483-1561). art oil paintings for sale

FIG. 40.—MICHAEL ANGELO. ATHLETE. SISTINE, ROME.

Andrea del Sarto (1486-1531) was a Florentine pure and simple—a painter for the Church producing many madonnas and altar-pieces, and yet possessed of little religious feeling or depth. He was a painter more than a pietist, and was called by his townsmen "the faultless painter." So he was as regards the technical features of his art. He was the best brushman and colorist of the Florentine school. Dealing largely with the material side his craftsmanship was excellent and his pictures exuberant with life and color,oil painting on canvas, but his madonnas and saints were decidedly of the earth—handsome Florentine models garbed as sacred characters—well -drawn and easily painted, with little devotional feeling about them. He was influenced by other painters to some extent. Masaccio, Ghirlandajo, and Michael Angelo were his models in drawing; Leonardo and Bartolommeo in contours; while in warmth of color, brush-work, atmospheric and landscape effects he was quite by himself. He had a large number of pupils and followers, but most of them deserted him later on to follow Michael Angelo. Pontormo(1493-1558) and Franciabigio (1482-1525) were among the best of them. abstract oil paintings on canvas

Michael Angelo (1474-1564) has been called the "Prophet of the Renaissance," and perhaps deserves the title, since he was more of the Old Testament than the New—more of the austere and imperious than the loving or the forgiving. There was no sentimental feature about his art. His conception was intellectual, highly imaginative, mysterious,abstract oil paintings for sale, at times disordered and turbulent in its strength. He came the nearest to the sublime of any painter in history through the sole attribute of power. He had no tenderness nor any winning charm. He did not win, but rather commanded. Everything he saw or felt was studied for the strength that was in it. Religion, Old-Testament history, the antique, humanity, all turned in his hands into symbolic forms of power, put forth apparently in the white heat of passion,art oil painting reproduction, and at times in defiance of every rule and tradition of art. Personal feeling was very apparent in his work, and in this he was as far removed as possible from the Greeks, and nearer to what one would call to-day a romanticist. There was little of the objective about him. He was not an imitator of facts but a creator of forms and ideas. His art was a reflection of himself—a self-sufficient man, positive, creative, standing alone, a law unto himself. frames for oil paintings