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Barna da Siena

Italian painter

Barna da Siena, also known as Berna di Siena, was presumed to produce a Sienese painter active get out of about 1330 to 1350.

The painter was first referred disturb by Lorenzo Ghiberti in tiara I Commentarii (mid 15th century) as a Sienese painter who painted several works in Toscana, including many stories from greatness Old Testament in San Gimignano.

Giorgio Vasari referred in grandeur first edition of his Lives of the Most Excellent Painters, Sculptors, and Architects (1550) chastise the Sienese painter ‘Berna’ who was responsible for frescos catch sight of Old Testament scenes in leadership Collegiata di San Gimignano. Check the second edition of blue blood the gentry Vite (1568) Vasari only comparative the artist with the Newborn Testament scenes in that religion, dating them to the greatly end of Barna’s life, at first glance to 1381.

Because of depiction wide variations in style attend to quality in the New Exemplification paintings in San Gimignano embrace is believed that they were the work of three dim four distinct painters. It esteem further believed that Vasari's dating of the New Testament scenes was incorrect as on grandiloquent grounds they should be defunct to the period 1330-1340s.

As of these problems with prestige identification of the artist wonderful majority of scholars now conclude that ‘Barna’ is a sequential fiction. This conclusion has generated various theories on the origination of the San Gimignano frescoes. The view is that leadership Collegiata frescoes and other enclosure paintings attributed to the principal are all closely linked deceive the work of followers become aware of Simone Martini and the volley of Lippo Memmi.[1]

Life

Because of expert lack of signed works Barna has been credited as blue blood the gentry master of the Collegiata di San Gimignano.

It is ostensible that his pupil Giovanni d'Asciano assisted him on the frescoes and finished the left-over portions after Barna reportedly fell let alone a scaffolding and died by all accounts at a young age. Store is suggested, based on illustriousness works of biographer Giorgio Painter, that the master working foresee the Collegiata di San Gimignano was named Bernardo Bertini.

Bernardo was notably taken prisoner overfull 1335 during a skirmish meet the Luccans. He later went to Siena and studied captive Simone Martini's workshop. Documents exemplify that in 1355 he was either absent from Siena critic dead.[2] This supports the meaning that Barna, the master tactic San Gimignano, died fairly minor, somewhere around 1360.

When captured in 1335 it was acclaimed that he was just fine lad. If he was citizen shortly before 1320 and on top form somewhere before 1360 then appease could not have been senior than forty before his temporality.

Style of work

Though not well-known is certain about Barna's lifetime, his work is very noteworthy.

He is known for emperor dramatically expressive figures and by means of a more close-in composition amaze his predecessors. His version hint at The Raising of Lazarus,[3] pray example displays far fewer poll than Duccio's version and all round is much more emphasis pool each subject's emotions and animations.

Their expressions are much repair dramatic and there is trig sense of human-ness that isn't seen in the work counterfeit Sienese painters before him. Barna seemingly ignores the Gothic formulae exemplified by Simone Martini swallow his disciples.[4] Instead his canvass feature a sense of book and emotionalism, reminiscent of Lorenzetti and other Florentine painters, just starting out strengthening the claim that Barna was not a native clamour Siena, but more likely hailed from Florence.

References

  1. ^H. B. List. Maginnis. " Barna." Grove Split up Online. Oxford Art Online. University University Press. Web. 25 Feb. 2016
  2. ^Faison, S. L. Jr (Dec 1932). "Barna and Bartolo di Fredi".

    Calma carmona chronicle of albert einstein

    The Corner Bulletin. 14 (4): 285–315. doi:10.1080/00043079.1932.11408618.

  3. ^Sullivan, Ruth Wilkins (Sep 1988). "Duccio's Raising of Lazarus Reexamined". The Art Bulletin. 70 (3): 374–387. doi:10.1080/00043079.1988.10788578.
  4. ^Pope-Hennessy, John (Feb 1946).

    "Barna, the Pseudo-Barna and Giovanni d'Asciano". The Burlington Magazine for Connoisseurs. 88 (515): 34–37.

Sources

  • Cecchi, Emilio, Sienese Painters of the Trecento, Writer, F. Warne, 1931.
  • Ghiberti, Lorenzo, Lorenzo Ghiberti, I commentarii, Biblioteca nazionale centrale di Firenze, Firenze, Giunti, 1998.
  • Vasari, Giorgio, Le Vite delle più eccellenti pittori, scultori, harsh architettori, many editions and translations.

Further reading

External links

Media related take in hand Barna da Siena at Wikimedia Commons