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148:. The fact that most of the payments were intended to Ximénez, who in 1487 charged and alone, suggests that participation was a minor Bernat contribution. He and his workshop in this altarpiece attributed the stronger character tables "primitive" and greater proximity to Bermejo, which are located in the attic, with the representation of a number of prophets, and the right side of the street, destined to the
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The surviving documents refer to a large number of contracts, and indicate that Bernat enjoyed an excellent reputation and could maintain a fruitful workshop, whose impact can be seen in numerous altarpieces in the
Aragonese region. However the only works documented and preserved, with the exception
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Both painters, with independent workshops but often associated in large works, again collaborated in 1489 to decorate the altar of All Saints for the
Augustinians of Zaragoza, a lost work which is known from the fact that the two painters traveled to Barcelona accompanied by a monk of the convent of
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welcoming Santo
Domingo de Silos. According to the documentation Bernat work was completed or retouched by Bermejo in incarnations. Between 1479 and 1484 he appears again documented together with Bartolomé Bermejo, busy restoring the polychrome altarpiece of the Cathedral and the painting of
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painting of the late fifteenth century, where enshrined saint typology created by
Bermejo in Santo Domingo de Daroca is repeated often, especially in works attributed to Bernat or his circle, such as the St. Victorian between San Gaudioso and Saint Nazaire Cathedral or the San Blas
250:
Valero Ortiz, N., "Martin Bernat" in: The
Hispano-Gothic painting. Bartolomé Bermejo and his times ", National Museum of Catalan Art (February 26-May 11, 2003) and Museum of Fine Arts in Bilbao (June 9-August 31, 2003),
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Valero Ortiz, N., "Last Will of Martin Bernat, painter of altarpieces, documented in
Zaragoza between 1450 and 1505", in: Bulletin of the Museum and Institute "Camon Aznar", No. 106, Zaragoza, 2010, p. 181-199.
246:
Ortiz Valero, N., "The organ of the church of San Pablo de
Zaragoza, work Johán Ximénez Garcés, conducted between 1480 and 1483", in: Bulletin of the Museum and Institute "Camon Aznar" No. XCII, Zaragoza, 2003,
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of the Blesa altarpiece, are quite late, both from 1493 and listed on the marriage contract of the painter with Maria de Soria. These are the altarpieces for the chapel of
Talavera or the Purification in the
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Lacarra Ducay, Maria del Carmen, "a study
Annotated table Bernat Martin County and Diocesan Museum of Lleida" Aragon in the Middle Ages, XX (2008), p. 413-425.
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About Berg, Judith, "The
Miracle of snow and Martin Bernat Bartolomé Bermejo and Juan Lobera altarpiece for the cloister of the Pillar ', Goya (2006), No. 307-308.
173:. A year later Bernat came into contact with the Castilian painter Fernando del Rincón, signing a partnership agreement for future collaborations in Zaragoza.
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unfinished by Bartolome Bermejo". The altarpiece, probably dismantled in the eighteenth century as a result of a fire suffered by the church, preserved in the
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Lacarra Ducay, Maria del Carmen, "Meeting of Santo Domingo de Silos with Fernando I of Castile ', in Aragon in the Middle Ages, X-XI (1993), p. 450-454.
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Beltran Lloris, Miguel and others (1990). Zaragoza Museum. Section of Fine Arts. Musea Nostra. European Collection of Museums and Monuments.
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Son of another painter of the same name, it was documented that Bernat "promised to end within two years the altar of
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central table with the effigy of the owner, probably the only fully completed by Bermejo, and depicting the king
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This collaboration between Bernat and Bermejo left a deep imprint on Bernat and, generally speaking, in the
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Along with Miguel Ximénez, Bernat was hired in 1485 to execute the high altar of the parish church of
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with interesting allegories of the Virtues and the Liberal Arts painted in
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style painter, active in Zaragoza, where he had a long collaboration with
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226:(1971). Medieval Painting in Aragon. Zaragoza, Institution Ferdinand.
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Aragon, in order to study the high altar of St. Augustine by
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63:. His dates of birth and death are not known.
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201:(2000). Gothic Art in Spain. Madrid, Chair.
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94:Visitation of the Pillar of Zaragoza
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140:, dedicated to the Legend of the
92:altarpiece for the chapel of the
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278:16th-century Spanish painters
268:15th-century Spanish painters
156:, Jesus with the Cross and
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55:1450 -1505) was a Spanish
144:, now in the Museum of
73:Santo Domingo de Silos
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42:Santo Domingo de Silos
29:Santo Domingo de Silos
273:Spanish male painters
154:Jesus before Caiaphas
85:Fernando I of Castile
32:by Martin Bernat and
25:Fernando I of Castile
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283:Painters from Aragon
199:Azcarate, José María
179:Tarazona Cathedral
138:Province of Teruel
123:St. Mary Magdalene
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247:pp. 169–195.
152:, with scenes of
150:Passion of Christ
121:of the parish of
61:Bartolomé Bermejo
34:Bartolomé Bermejo
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81:Museo del Prado
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38:Museo del Prado
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16:Spanish painter
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100:Collaborations
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90:John de Lobera
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49:Martín Bernat
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171:Jaume Huguet
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164:Work remains
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67:Early career
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251:pp.262-264.
119:San Lorenzo
115:San Vicente
40:, from the
262:Categories
193:References
142:Holy Cross
44:altarpiece
27:welcoming
183:grisaille
111:Barbastro
106:Aragonese
146:Zaragoza
113:between
75:left in
158:Descent
136:in the
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187:Zaidín
127:Lécera
77:Daroca
57:Gothic
134:Blesa
228:ISBN
214:ISBN
203:ISBN
117:and
125:of
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