Italy. 1599 - 1660
Painting
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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.
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Slide 1 of 3: Portrait of a lady as Saint Catherine of Alexandria
Portrait of a lady as Saint Catherine of Alexandria
Domenico Bartolomeo Ubaldini il PuligoPortrait of a lady as Saint Catherine of Alexandria
Domenico Bartolomeo Ubaldini il Puligo
Madonna and Child
Domenico Bartolomeo Ubaldini il Puligo
HOLY FAMILY, WITH THE MADONNA SUPPORTING THE STANDING CHRIST CHILD ON A STONE LEDGE
Domenico Bartolomeo Ubaldini il PuligoArtists Similar to Domenico Bartolomeo Ubaldini il Puligo (32)
Collection of similar artists. Use arrow keys to navigate between artists, Enter or Space to select an artist, Home to go to first artist, End to go to last artist. Collection contains 32 artists.
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Portraiture and religious/historical subjects, merging Netherlandish and Italian artistic traditions
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Netherlands. 1640 - 1719
Still life, figure, landscape painting
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Floral still life painting, teaching
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Figure, landscape and allegorical painting, etching and drawing
Netherlands. fl.1660 - 1702
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Italian Rococo painting style
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Religious figure easel and fresco painting
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Figure, religious genre painting, church altarpieces, ceiling decoration, fresco
Belgium. 1599 - 1652
Animal and Flemish still life painting
Belgium. 1555 - 1585
Religious theme genre, figure and allegory painting
Italy. 1648 - 1693
Architectural paintings and perspectives
Italy. 1618 - 1663
Painting
Belgium. 1614 - 1677
Religious motif painting
Belgium. 1618 - 1667
Floral still life and garland painting
Italy. 1627 - 1715
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Italy. 1747 - 1819
Landscape, figure, marine painting
Europe, Netherlands, Holland. 1628/69 - 1682
Realist landscape painting with horizons
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Greek mythology and Christian religion figures images, nudes, engraving