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BRAMANTINO
Adoration of the Magi f
c. 1498
Oil on wood, 56,8 x 55 cm
National Gallery, London
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BRAMANTINO
Crucifixion 210
c. 1515
Oil on canvas, 372 x 270 cm
Pinacoteca di Brera, Milan
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BRAMANTINO
Madonna and Child with Two Angels fg
c. 1508
Detached fresco, 241 x 135 cm
Pinacoteca di Brera, Milan
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BRAMANTINO
Holy Family inwp
c. 1520
Poplar panel, 61 x 47 cm
Pinacoteca di Brera, Milan
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BRAMANTINO
Noli me Tangere fd
Fresco
Civico Museo d'Arte Antica, Castello Sforzesco, Milan
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BRAMANTINO
Madonna del Latte fgdf
c. 1490
Oil and tempera on wood, 45,9 x 35,2 cm
Museum of Fine Arts, Boston
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BRAMANTINO
Virgin and Child
oil and tempera on panel, Museum of Fine Arts, Boston
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BRAMANTINO
Madonna and Child with Eight Saints
mk67
Oil on panel
79 15/16x65 3/4in
Pitti,Meridiana
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BRAMANTINO
The Adoration of the Kings
mk170
circa 1500
oil on poplar
56.8x55cm
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BRAMANTINO
Philemon and building c sharp
mk186
1490 Koln, Wallraf-Richartz-musuem
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BRAMANTINO
Crucifixion
1515 Oil on canvas, 372 x 270 cm Pinacoteca di Brera, Milan This painting may have come from the church of S. Maria di Brera. At one time it was probably an organ shutter. It was formerly attributed to Bramante. A late work, this painting reveals Bramantino's background. His roots were in the art of Ercole de' Roberti, the most energetically emotional fifteenth- century painter in northern Italy. It is from this source that Bramantino drew his highly dramatic style, which led him to freeze the tragedy of the Crucifixion within a framework of lucid abstraction. At the same time he seized the opportunity to seek out new means of formal expression. The crosses of the two thieves are arranged in terms of a centralized perspective, creating a space almost like an interior, and leading directly to the background where typical Bramantino buildings are silhouetted against an evening sky. (One of the buildings resembles the Trivulzio mausoleum, which was designed by the artist.) The marked bisymmetry of the painting, with angel and demon, sun and moon, is less structured in the choral rhythm of the foreground. The Madonna's grief is represented within the circle described by the hands of the saints, while the Magdalene lifts her arms toward the cross as if to raise it up to heaven. A strict intellectual approach dominates the colour scheme, in which subdued olive greens, golden grays and browns predominate.Artist:BRAMANTINO Title: Crucifixion Painted in 1451-1500 , Italian - - painting : religious
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BRAMANTINO
Holy Family
1520 Poplar panel, 61 x 47 cm Pinacoteca di Brera, Milan Constructed on a series of triangular rhythms heightened by the violent tension of the drapery, which seems to absorb the figures, the composition has a rarefied atmosphere. Every gesture assumes an almost hieratic dignity, and every figure tends to take on an architectonic fixity. The figure of the Christ Child violently escapes from this formal severity. The audacious, almost explosive gesture of his arms seems to introduce the more serene and contemplative effect of the background, in which unreal, almost stage-set buildings stand out against the luminous sky. The buildings recall Bramantino's work as an architect and architectural theoretician. Of his work in this field, only the mausoleum for the Trivulzio family in Milan has survived.Artist:BRAMANTINO Title: Holy Family Painted in 1451-1500 , Italian - - painting : religious
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BRAMANTINO
Madonna del Latte
Date ca. 1490(1490)
Medium Oil and tempera on wood
Dimensions Height: 46 cm (18.1 in). Width: 35 cm (13.8 in).
cjr
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BRAMANTINO
The Adoration of the Magi
Date ca. 1498(1498)
Medium Oil on wood
Dimensions Height: 56.8 cm (22.4 in). Width: 55 cm (21.7 in).
cjr
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BRAMANTINO
Madonna del Latte
. 1490(1490)
Medium Oil and tempera on wood
cyf
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BRAMANTINO
The Adoration of the Magi
1498(1498)
Medium Oil on wood
cyf
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| BRAMANTINO
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Italian High Renaissance Painter, ca.1460-1530
Leonaert/Leonard Bramer alias Nestelghat (Dec 24, 1596, Delft - buried Feb 10, 1674, Delft) was a Dutch painter, best known for probably being one of the teachers of Johannes Vermeer, although there is no similarity between their work. Bramer's dark and exotic style is unlike Vermeer's style. Bramer was primarily a genre and history painter, but also made some unique frescos, not very often found north of the Alps. Leonaert Bramer is one of the most intriguing personalities in seventeenth-century Dutch art. He was a talented and diligent draughtsman, evidently Catholic and a life long bachelor.
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