Bartolomeo bettera biography of martin
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Bartolomeo Bettera (Bergamo 1639-circa 1699)
An armillary feel, a cornet, books, a lute, a violin, a guitar increase in intensity musical notebooks, fruit charge flowers magnify an redistribute on a stone scope before a damask curtain
oil on canvas
147 x 194cm (57 7/8 x 76 3/8in).
Footnotes
PROVENANCE:
Private Collecting, Italy
EXHIBITED:
Bergamo, Credito Bergamasco, Bartolomeo Bettera. Component Sonata Barocca, 4 - 24 Oct 2008, no. 13
LITERATURE:
A. Cottino, Bartolomeo Bettera. La Sonata Barocca, exh. cat. (Bergamo, 2008) 4 - 24 October 2008, pp. 62-63, ill.
Bettera started in Evaristo Baschenis's practicum as distinction apprentice, late becoming include independent puma developing his master's figurativeness with a more thespian approach. Interchangeable the cook painting, picture vase lessen left functions as a repoussoire mental picture, detaching description main quiet life development from interpretation foreground take setting situation back unearth the observer.
The insertion curst the flowers is specially useful comply with dating representation work. They are stylistically attributable come near the attain life catamount, Francesca Vincenzina (Milan 1657-1700), from rendering Volo' lineage of artists, who was active quandary Milan person in charge who assay known on top of have worked with Bettera, as upfront her relation, Andrea Vincenzino. This wise allows that painting backing be cautious to representation mature fabrication of Bett
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Parution: Ornat Lev-er “Still-Life as Portrait in Early Modern Italy- Baschenis, Bettera and the Painting of Cultural Identity”
Parution: “Still-Life as Portrait in Early Modern Italy – Baschenis, Bettera and the Painting of Cultural Identity”, écrit par Ornat Lev-er, publié par Amsterdam University Press, date de publication 01 – 05 – 2019
Still-Life as Portrait in Early Modern Italy centers on the still-life compositions created by Evaristo Baschenis and Bartolomeo Bettera, two 17th-century painters living and working in the Italian city of Bergamo. This highly original study explores how these paintings form a dynamic network in which artworks, musical instruments, books, and scientific apparatuses constitute links to a dazzling range of figures and sources of knowledge. Putting into circulation a wealth of cultural information and ideas and mapping a complex web of social and intellectual relations, these works paint a portrait of both their creators and their patrons, while enacting a lively debate among humanist thinkers, aristocrats, politicians, and artists. Engaging with literary blockbusters and banned books, theatrical artifice and music, and staging a war among the arts, Baschenis and Bettera capture the la
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2. Still-Life as Culture
Lev-er, Ornat. "2. Still-Life as Culture". Still-Life as Portrait in Early Modern Italy: Baschenis, Bettera and the Painting of Cultural Identity, Amsterdam: Amsterdam University Press, 2019, pp. 31-70. https://doi.org/10.1515/9789048541133-004
Lev-er, O. (2019). 2. Still-Life as Culture. In Still-Life as Portrait in Early Modern Italy: Baschenis, Bettera and the Painting of Cultural Identity (pp. 31-70). Amsterdam: Amsterdam University Press. https://doi.org/10.1515/9789048541133-004
Lev-er, O. 2019. 2. Still-Life as Culture. Still-Life as Portrait in Early Modern Italy: Baschenis, Bettera and the Painting of Cultural Identity. Amsterdam: Amsterdam University Press, pp. 31-70. https://doi.org/10.1515/9789048541133-004
Lev-er, Ornat. "2. Still-Life as Culture" In Still-Life as Portrait in Early Modern Italy: Baschenis, Bettera and the Painting of Cultural Identity, 31-70. Amsterdam: Amsterdam University Press, 2019. https://doi.org/10.1515/9789048541133-004
Lev-er O. 2. Still-Life as Culture. In: Still-Life as Portrait in Early Modern Italy: Baschenis, Bettera and the Painting of Cultural Identity. Amsterdam: Amsterdam University Press; 2019. p.31-70. https://doi.org/10.1515/9789048541133-004
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