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Domenico Bartolomeo Ubaldini il Puligo KEYWORDS
1492 - 1527. Known for: Painting.
The painter initially studied under Ridolfo Ghirlandaio (1483-1561) and then worked as an assistant to Andrea del Sarto (1486-1530/31), with whom he was a close friend. The emphasis on color is a... Read full biography
The painter initially studied under Ridolfo Ghirlandaio (1483-1561) and then worked as an assistant to Andrea del Sarto (1486-1530/31), with whom he was a close friend. The emphasis on color is a result of the Mannerist influence of Jacopo da Carucci Pontormo (1494-1556/57) and Fiorentino Rosso... Read full biography
The painter initially studied under Ridolfo Ghirlandaio (1483-1561) and then worked as an assistant to Andrea del Sarto (1486-1530/31), with whom he was a close friend. The emphasis on color is a result of the Mannerist influence of Jacopo da Carucci Pontormo (1494-1556/57) and Fiorentino Rosso (1494-1540). It is noteworthy that numerous, perhaps even the majority, of his Madonna paintings exhibit this strong sfumato effect, which was intended to convey a certain aloofness to these saintly... Read full biography
The painter initially studied under Ridolfo Ghirlandaio (1483-1561) and then worked as an assistant to Andrea del Sarto (1486-1530/31), with whom he was a close friend. The emphasis on color is a result of the Mannerist influence of Jacopo da Carucci Pontormo (1494-1556/57) and Fiorentino Rosso (1494-1540). It is noteworthy that numerous, perhaps even the majority, of his Madonna paintings exhibit this strong sfumato effect, which was intended to convey a certain aloofness to these saintly figures, whereas the painter definitely preferred a hard contour style in secular portraits.
The painter initially studied under Ridolfo Ghirlandaio (1483-1561) and then worked as an assistant to Andrea del Sarto (1486-1530/31), with whom he was a close friend. The emphasis on color is a result of the Mannerist influence of Jacopo da Carucci Pontormo (1494-1556/57) and Fiorentino Rosso (1494-1540). It is noteworthy that numerous, perhaps even the majority, of his Madonna paintings exhibit this strong sfumato effect, which was intended to convey a certain aloofness to these saintly figures, whereas the painter definitely preferred a hard contour style in secular portraits.