Bernardino Fungai ( Italian: Bernardino Fungai ; September 14, 1460 , Siena - 1516 , ibid.) - Italian artist of the Siena school .
| Bernardino Fungai | |
|---|---|
| Date of Birth | |
| Place of Birth | |
| Date of death | |
| Place of death | |
Biography
The biography of Bernardino Fungai is poorly documented, experts know little about him. In documents, he appears in 1482 as an apprentice ( garzone ) with Benvenuto di Giovanni during work on monochrome frescoes in the drum of the dome of the Siena Cathedral, in connection with which many scholars considered him to be a student of Benvenuto. However, his work shows a much greater influence of Matteo di Giovanni . The candidacy of Giovanni di Paolo was also proposed as a creative predecessor.
Today there is the only work signed and dated by him - the altar “Our Lady and the Baby, St. Sebastian , St. Jerome , Nicholas and St. Anthony of Padua ”( 1512 Siena , Pinacoteca). Based on this work, experts relatively confidently built the later work of Bernardino Fungai, however, the study of its early period is problematic. This artist did not remain aloof from the innovations of the late 15th century , and despite the strong Siena leaven (and the fact that Bernardino was brought up in Siena traditional painting is beyond doubt), one can see in his works an imitation of the works of Luca Signorelli , Perugino and Pinturicchio . From the documents it follows that in addition to paints, Bernardino worked with such expensive material as gold - in 1494 he received an order for the manufacture of ceremonial gilded banners, and five years later he gilded the organ case in the cathedral. In addition to major works, Bernardino Fungai painted the tavoletta and the box office .
Among the few works of the artist that have survived to this day, three different images of the Madonna can be noted.
- In the early painting Madonna with the Two Holy Hermits (c. 1480 , Paul Getty Collection), one can still see a direct connection with the traditional Siena works typical of Matteo di Giovanni or Neroccio de Landi .
- In another painting, Madonna and Child with Cherubs (1495-1510, London , National Gallery ), one can see the connection with the art of Perugino . Behind the Madonna, a magnificent landscape unfolds, on which the scenes of Christmas and the Adoration of the Magi are played out.
- The third "Madonna and Child with Saints and Angels" (1510-15gg. Miami , University Collection) was created by Bernardino Fungai in the last years of his life. It looks somewhat eclectic , because it contains everything that Fungai wrote throughout his career - a rich landscape with vast expanses, to which he always paid special attention, holy elders, ancient architecture, and the Madonna and Child. In addition, this work has an extremely rare iconography - the baby of Christ is held by angels, not Madonna. This scene is an allegorical depiction of a “heavenly marriage” between Christ and the church, which the Mother of God symbolizes. Mary Magdalene , standing nearby, testifies to what is happening.
In addition to these rather large easel works, several museums that previously constituted the predella of different altars are stored in various museums of the world. In addition, the artist created many painted panels for the box office . In the State Hermitage Museum of St. Petersburg and the Pushkin Museum. Pushkin in Moscow there are two paired boards with scenes from the life of Scipio Africanus, three more Fungai boards with paintings on this subject are in private collections. The Hermitage’s collection also contains a small painting “ Madonna and Child ”.
Notes
- ↑ 1 2 Art UK - 2003.
- ↑ 1 2 Union List of Artist Names
- ↑ 1 2 British Museum person-institution thesaurus
- ↑ Union List of Artist Names - 2017.
Literature
- Giuletta Dini. Five Centuries Of Sienese Painting (From Duccio to the Birth of the Baroque) Thames & Hudson. 1998.
- Diana Norman. Painting in Late Medieval and Renaissance Siena (1260-1555). Yale University Press. 2003.