Italian painter, Florentine school (b. 1475, Firenze, d. 1554, Firenze) Italian painter and draughtsman. He trained in Florence in the workshop of Domenico Ghirlandaio. The influence of Ghirlandaio is apparent in his earliest known works, datable between c. 1495 and 1500, which include part of the altarpiece of the Nativity (Florence, Santa Croce) painted for the Castellani family. Apart from Ghirlandaio, his two most important early influences were Fra Bartolommeo and Mariotto Albertinelli. In 1503 Bugiardini joined the Compagnia di S Luca and began an association with Albertinelli that continued until 1509 when Albertinelli moved to the workshop of Fra Bartolommeo. Bugiardini's paintings of the Virgin and Child (e.g. c. 1510; Kansas City, MO, Nelson-Atkins Mus. A.) show the influence of the balanced classical compositions executed by Raphael in Florence between 1504 and 1508 (e.g. the Madonna of the Meadow, 1505, Vienna, Ksthist. Mus.; La Belle Jardini?re, 1507, Paris, Louvre). From Ghirlandaio's workshop and his study of antique sculpture in the Medici garden, Bugiardini would have known Michelangelo early in his career. Vasari mentioned Bugiardini as among the artists who went to Rome in 1508 to assist Michelangelo with the painting of the ceiling of the Sistine Chapel (Vatican) and who were almost immediately sent back to Florence. The influence of Franciabigio is clear in such works as the Birth of John the Baptist (1512; Stockholm U., Kstsaml.; autograph copy, Modena, Gal. & Mus. Estense) in which nature is not idealized, as compared to contemporary works in Rome. The signed and dated Madonna della palma (Virgin and Child with the Infant John the Baptist, 1520; Florence, Uffizi) suggests his familiarity with such contemporary Roman paintings by Raphael and his workshop as the Madonna of Divine Love (Naples, Capodimonte) or the Madonna of the Rose (c. 1518; Madrid, Prado).   Related Paintings of BUGIARDINI, Giuliano :. | Virgin and Child with the Infant St John the Baptist | Portrait of a Woman, called The Nun | Portrait of a Woman | Madonna and Child with hte Young St.john t he Baptist | Portrait of a Woman, called The Nun |
Related Artists:
Frederic Baxille
1841-1870
Dennis Miller Bunker
1861-1890 Dennis Miller Bunker Gallery The paintings of Bunker's early maturity in New York (ca. 1880-82) were often marine subjects, featuring a series of beached boats, painted on Long Island. In these he followed the standard academic practice of first painting loose, preparatory sketches (Beached, ca. 1881-2) prior to more conventionally finished exhibition pieces. The early portraits (Portrait of Walter Griffin, 1881, Portland Museum of Art) also evidence rigorous craftsmanship. While studying in Paris, Bunker's summer excursions to the countryside resulted in another series, this time of scenes of Larmor, a town in Brittany. The focus of these compositions, be it church spire (Brittany Town Morning, Larmor, 1884, Terra Foundation for American Art), cemetery cross, or a lone tree (Tree, 1884-5, private collection), was invariably that of a richly painted, dark graphic shape against a bright sky. Nevertheless, the pictures are characterized by soft atmospheric effects and tonal subtlety. No less subtle are the landscapes Bunker painted after returning to America; paintings done in South Woodstock, Connecticut (Pines Beyond the Fence, 1886, private collection) still favor dramatic value contrasts, with subjects carefully painted against a light sky, but the palette has grown lighter, the color more saturated. By 1887 Bunker completed his Portrait of Anne Page, a painting requiring much labor, but one of his most poignant works. In its restrained use of color, delicate modeling of form, and aesthetic elegance it is reminiscent of the works of Thayer and James McNeill Whistler. There soon followed the Boston commissions, portraits mostly of male sitters--still somber in tone, they are painted in a more confident manner, suggesting the influence of Sargent (Portrait of George Augustus Gardner, 1888, Museum of Fine Arts, Boston). Portrait Sketch of Eleanor Hardy Bunker, 1890. Private collection.That Bunker spent the summer of 1888 painting with Sargent is verified by personal correspondence, as well as through several pieces by the latter artist (Dennis Miller Bunker Painting at Calcot, 1888, Terra Foundation for American Art), but no paintings of the English sojourn by Bunker have survived; possibly he destroyed them in dissatisfaction. However, once back in Boston the experience came to fruition, for over the next two years Bunker produced a series of canvases which evidenced that he was one of the first American artists to fully understand and successfully practice impressionism. In the Greenhouse, ca. 1888, Chrysanthemums, 1888 (Isabella Stewart Gardner Museum), The Pool, Medfield, 1889 (Museum of Fine Arts, Boston), and Meadow Lands, 1890 (Museum of Fine Arts, Boston) all feature a rich palette, vertiginous compositions, and his unique "fish hook" shaped brush strokes. At the same time, Bunker's last figure pieces remained faithful to his academic training. Jessica, 1890 (Museum of Fine Arts, Boston), The Mirror, 1890 (Terra Foundation for American Art), and Eleanor Hardy Bunker, 1890 (Metropolitan Museum of Art) are characterized by a restricted color range and heightened elegance.
Robert Havell Jr Prints
1793-1878 Engraver and painter, cousin of William Havell. He learnt the art of aquatint engraving from his father, Robert Havell I. He worked first in the family engraving business and then c. 1825-7 with Colnaghi in London. In 1827 he undertook the execution in aquatint of the plates for John James Audubon Birds of America, published in parts in London between 1827 and 1838. Havell engraved 425 of the plates and reworked the ten that had been engraved by William Home Lizars in Edinburgh. Havell father printed and coloured some of the double elephant folio sheets in 1827-8 after which Havell took on those tasks himself, establishing himself as a master of aquatint. Among his other important works in the medium are the plates for Mrs E. Bury Selection of Hexandrian Plants (London, 1831-4). In 1839, at Audubon invitation, Havell moved with his family to New York and embarked on a new career as a landscape painter in the style of the Hudson River school, while also working as an engraver. He settled in the Hudson River villages of Ossining (1841) and Tarrytown (1857) but painted throughout north-eastern America. View of Deerfield, Massachusetts (1847; Hist. Deerfield, MA) is characteristic of his quietly romantic idealization of his subjects. Niagara Falls from the Chinese Pagoda (1845; New York, Pub. Lib.), engraved by Havell after one of his paintings, is among the best known of his American aquatints. Though his reputation rests largely on his work for Audubon, his original subjects gave him greater opportunities to display the full range of his aquatint technique. Part of the Havell family