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intervention of a second, later hand, opening up the possibility that he did not finish this work either. Here, he completed his masterwork for Canon Lluís Desplà i Oms' private chapel, the Pietà in 1490, which contains the donor's portrait. Other documents in
Barcelona concern designs for stained-glass windows. the Noli Me Tangere for the baptismal chapel of Barcelona Cathedral (1495) and two windows representing the virtues Faith and Hope for the Llotja of Barcelona in 1500 and 1501 (now destroyed). It is a testament to his skills and talent that though Barcelona was in a severe economic depression at this period, Bermejo continued to receive commissions from both its Cathedral Chapter and the municipal government.
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225:, agreed to finish it, but a second contract, in 1477, was for a collaboration between the two painters. Analysis of the surviving panels of this altarpiece, now in the Prado, confirms this, as the other extant lateral narratives are in the coarser style associated with Bernat. ). Bermejo's excommunication was revoked shortly after the signing of the second contract, and it was duly completed. He and Bernat continued to collaborate in Zaragoza, notably in the Altarpiece of the Virgin of the Snows for Juan Lobera for the latter's chapel in the church of El Pilar.(1479). In 1482–3, Bermejo was part of a team (which also included Bernat) that reapplied the
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he was professionally unreliable, though apparently his outstanding talent made patrons willing to take the risk. One contract (discussed below) contained a clause providing for the excommunication of the painter in the event of unsatisfactory performance. Commissions were often undertaken by
Bermejo in collaboration with inferior local painters, possibly because of guild restrictions. At least three major altarpieces that he undertook, the high altar retables of Santo Domingo de Silos in Daroca and Santa Anna in Barcelona, and the triptych of the Virgin of Montserrat in Valencia, were left incomplete for others to finish.
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Whether or not he briefly returned to
Valencia, Bermejo's later years were spent in Barcelona, where he first worked on the High Altar Retable for the convent church of Santa Anna (carpentry contract,1485) the surviving panels from this retable were destroyed in 1936, but old photographs suggest the
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on the alabaster High Altar
Retable of Zaragoza Cathedral. For this work, it is known that he was paid more than any of the others, and also insisted on private working space for himself so that nobody, fellow painters or others, could observe him while he worked; another unusual demand at the time
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with many panels. Though his documented career spans over thirty years, he was peripatetic: he never settled in one place for more than a decade. Also, in a period and place where painting was a business, and work was generally negotiated by contract, there is both direct and indirect evidence that
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Beyond his skill in oil glaze painting, Bermejo's distinctive style can be seen in his physical types, a lively sense of drama in his narrative scenes, and above all in his attention to landscape, particularly in the extensive sunrise and sunset settings in the
Triptych of the Virgin of Montserrat
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Exactly how long
Bermejo actually resided in Daroca is not clear; but he did complete at least one other altarpiece there, dedicated to Saint Engracia (now divided among various locations), and a Dead Christ in his Tomb for a local merchant, the Converso Juan de Loperuelo (Museu del Castell de
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The patron was a local nobleman, Antonio Juan, to whom Tous belonged. No documentation of other work from that period seems to have survived, but there is evidence that he returned there for a short time around 1485, when he painted the signed central panel of the
Triptych of the Virgin of
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There are three surviving works that incorporate the artist's name within the compositions, still unusual in
Spanish painting of this period: Saint Michael with Kneeling Donor, Antonio Juan; the Triptych of the Virgin of Montserrat with Donor, Francesco della Chiesa; and the Pietà with
270:. The first two bear the artist's name on simulated parchment, and the last is found in an inscription on the frame. Indirect evidence also speaks of royal patronage, for an Epiphany, now in the Royal Chapel of Granada, which was part of the personal collection of Queen
208:
By 1474, Bermejo had moved on to the
Aragonese town of Daroca, where he signed a contract to paint the high altarpiece for the church of Santo Domingo de Silos. This contract is full of guarantees to keep Bermejo working on the altarpiece, including the threat of
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and the Pietà. Bermejo's distinctive style had a considerable influence, particularly in Aragon, where it was widely disseminated in the prolific studio of Martín Bernat. No one at this time, however, could duplicate his landscapes.
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The doubts to his reliability proved true: by 1477, Bermejo had moved on to
Zaragoza, having left only the central panel of the Santo Domingo de Silos altarpiece complete and being duly excommunicated. A Zaragoza painter,
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organised an exhibition of the painter's work which opened in Madrid in 2018. Versions of the exhibition were shown in Barcelona and London the following year. Paintings on display included
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Montserrat, ordered by an Italian merchant who was living there, Francesco della Chiesa, for the Cathedral of Acqui Terme, his hometown. The wings were carried out by the Valencian painter
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Fabian Mañas Ballestín, "La escuela de pintura de Daroca:documentos para sustudio (1372–1537), El Ruejo. Revista de Estudios Históricos y Sociales, 2 (1996), pp.44–46
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Bermejo's documented professional career began in Valencia in 1468 with a first payment for an altarpiece dedicated to Saint Michael for the Parish Church in
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Though Bermejo was possibly not a converso himself, he did marry one: the Daroca widow Gracia de Palaciano. Bermejo's wife, who allegedly did not know the
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Although it is unclear where Bermejo received his training, his complete mastery of the oil glaze technique suggests direct contact with 15th century
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According to the inscription "OPUS.BARTOLOMEI.VERMEIO.CORDUBENSIS" on the frame of one of his most famous paintings, Canon Lluís Desplà's
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75:, which means auburn in Spanish, possibly relates to his hair colour. Bermejo may relate also to his surname, Cárdenas;
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In 2023 some of Bermejo's work was featured in another temporary exhibition at the Prado called "The lost mirror".
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Bartolomé Bermejo y su época," Bilbao, Museo de Bellas Artes and Barcelona, Museu Nacional d'Art de Catalunya.
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means purplish. He signs himself sometimes as "Bartolomeus Rubeus" meaning possibly "Bartholomew the Redhead".
896:"Bartolomé Bermejo: Master of the Spanish Renaissance | Exhibitions | The National Gallery, London"
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by Bartolomé Bermejo and Martín Bernat, from the dismembered Altarpiece of Dominic of Silos
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19:"Bartolomé de Cárdenas" redirects here. For the seventeenth-century Spanish painter, see
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719:. Pamplona: Servicio de Publicaciones de la Universidad de Navarra. pp. 241–262.
639:. Pamplona: Servicio de Publicaciones de la Universidad de Navarra. pp. 241–262.
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painting techniques and conventions. Born in Cordoba, he is known for his work in the
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952:
Bartolomé de Cardenas 'El Bermejo,'" Bethesda, International Scholars' Publications,
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687:"Bartolomé de Cárdenas "el Bermejo, Itinerant Painter in the Crown of Aragon
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689:. Baltimore: International Scholars Publications. pp. 61–64, 272–89.
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Sílvia Cañellas and Carme Domínguez, "Bartolomé Bermejo y la vidriera,"
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if he didn't complete it, suggesting his reputation for unreliability.
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805:. Cambridge, Massachusetts: Harvard University Press. pp. 231–34.
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In 2019, it was believed that fewer than 20 of his works are known.
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Perelada). Bermejo married the Daroca widow Gracia de Palaciano.
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780:. Barcelona: Museu Nacional d'art de Catalunya. pp. 41–47.
751:"The Altarpiece of Saint Dominic of Silos by Bartolomé Bermejo"
664:. Barcelona: Museo Nacional d'Art de Catalunya. p. 189.
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Central panel from the Altarpiece of St. Dominic of Silos
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http://www.spanish-art.org/spanish-painting-bermejo.html
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Documentation places his activity in four cities of the
917:"The lost mirror. Jews and conversos in medieval Spain"
846:"Bartolomé Bermejo: Master of the Spanish Renaissance"
419:, from the dismembered Altarpiece of Dominic of Silos
713:
Temas y formas hispánicas: arte, cultura y sociedad
633:
Temas y formas hispánicas: arte, cultura y sociedad
977:Bartolomé Bermejo The Great Hispano-Flemish Master
749:Gayo, Dolores; Jover, Maité; Alba, Laura (2013).
51:1440 – c.1501) was a Spanish painter who adopted
8:
972:Vol 5, Cambridge, Harvard University Press.
468:Christ at the Tomb Supported by Two Angels
21:Bartolomé de Cárdenas (painter died 1628)
776:Lacarra Ducay, María del Carmen (2003).
803:A History of Spanish Painting, Volume V
593:
402:
359:Altarpiece of the Virgin of Montserrat
571:Saint Michael Triumphs over the Devil
310:Saint Michael Triumphs over the Devil
7:
579:Triptych of the Virgin of Montserrat
172:Retable of the Virgin of Montserrat
997:Bartolomé Bermejo in Artcyclopedia
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871:"Bartolomeo Bermejo - Exhibition"
603:"Bartolomé Bermejo ¿Cordubensis?"
601:Marías Franco, Francisco (2012).
567:Museu Nacional d'Art de Catalunya
710:Marias Franco, Fernando (2015).
630:Marias Franco, Fernando (2015).
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435:welcoming Saint Dominic of Silos
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450:Image of the Holy Face of Jesus
338:Isabella Stewart Gardner Museum
505:Piedad with Canon Lluís Desplà
385:Museum of Fine Arts of Seville
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1044:15th-century Spanish painters
970:A History of Spanish Painting
833:A History of Spanish Painting
817:Bartolomé Bermejo y su Época.
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778:Bartolomé Bermejo y su época
662:Bartolomé Bermejo y su época
610:Ars Longa, Cuadernos de Arte
565:The Museo del Prado and the
303:Amongst the best known are:
950:Berg-Sobré, Judith, (1997)
685:Berg-Sobre, Judith (1998).
340:, San Diego Museum of Art,
284:, 1480, a depiction of the
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1039:People from Córdoba, Spain
968:Post, Chandler R. (1974),
801:Post, Chandler R. (1934).
334:Altarpiece of St. Engracia
125:, was investigated by the
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415:by Bartolomé Bermejo and
413:Death of Dominic of Silos
61:Principality of Catalonia
34:triumphant over the Devil
850:National Gallery, London
660:Rovera, Giacomo (2003).
315:National Gallery, London
454:Royal Chapel of Granada
346:Bilbao Fine Arts Museum
308:Central panel from the
290:Royal Chapel of Granada
487:Saint John the Baptist
433:Ferdinand I of Castile
381:Saint John the Baptist
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155:Saint Dominic of Silos
91:, Bermejo was born in
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1049:Spanish male painters
975:Young, Eric, (1975),
755:Museo del Prado/Learn
363:Acqui Terme Cathedral
348:, collegiate church,
286:Adoration of the Magi
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272:Isabella I of Castile
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159:, circa 1474 - 1477,
157:enthroned as a Bishop
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69:Bartolomé de Cárdenas
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521:The Flagellation of
67:. His real name was
979:London, Paul Elek,
376:Barcelona Cathedral
336:(c. 1476), Boston,
127:Spanish Inquisition
65:Kingdom of Valencia
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245:Assumption of Mary
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757:. Museo del Prado
726:978-84-8081-450-8
646:978-84-8081-450-8
554:Our Lady of Mercy
470:, (1468 - 1474),
45:Bartolomé Bermejo
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880:15 November
561:Exhibitions
523:St Engracia
361:(c. 1485),
313:(c. 1468),
247:, 1468-1472
71:: the name
1023:Categories
1006:Museo del
901:15 January
588:References
227:polychromy
234:Barcelona
116:Barcelona
83:Biography
964:(2003)
819:pp.63–66
374:(1490),
282:Epiphany
184:Valencia
143:retables
112:Zaragoza
110:(1474),
106:(1468),
104:Valencia
63:and the
40:, London
399:Gallery
389:Seville
93:Córdoba
77:Cardeno
73:Bermejo
53:Flemish
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855:9 July
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541:, 1474
508:, 1490
491:, 1470
350:Daroca
342:Bilbao
328:Madrid
204:Aragon
133:Career
108:Daroca
1008:Prado
717:(PDF)
637:(PDF)
606:(PDF)
393:Spain
372:Pietà
367:Italy
354:Spain
296:Works
257:Style
123:Creed
89:Pietà
981:ISBN
954:ISBN
946:MNAC
940:ISBN
903:2020
882:2023
857:2019
782:ISBN
763:2016
721:ISBN
691:ISBN
666:ISBN
641:ISBN
617:2016
577:and
243:The
190:Tous
1014:Art
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47:(
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