Baccio Della Porta Essays - Renaissance Art, Fra Bartolomeo

Baccio Della Porta 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 today'7s 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 Porta's 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 artist's 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.3 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 Baccio's 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 Bartolommeo's 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.8 Before discussing Bartolommeo's works and style in depth, one must first give a general sense of his styles and why he adopted them and evolved the way he did. For the most part this general introduction to Bartolommeo's style has been provided in the previous pages. Fra Bartolommeo always had a sense for the grandiose and largescale figures and settings. To the untrained eye or even at first glance