DOI Kapitel:
Painters, Sculptors, Architects, Engravers, and their Works
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.61295#0038
16
ALBANI — ALBERTINELLI.
Albani or Albano, Gio. Baptiste, died 1668. Brother of Fran-
cisco, whom he imitated so closely that his pictures were sometimes
mistaken for his.
Alberelli, Giacomo, born at Venice (1600—1650). Pupil of Ja-
copo Palma, the younger, with whom he painted thirty-four years.
Several pictures by Alberelli are in his native city, the most esteemed
being the “ Baptism of Christ ” in the ch. of the Ognissanti.
Alberici, Enrico, born at Vilminore in Bergamo (1714-1775).
Pupil of Ferdinand© Cairo of Brescia. He had a good reputation,
and painted his principal pictures for the ch. Dei Miracoli, at
Brescia.
Albertinelli, Mariotto, born at Florence (1474-1515). His
father placed him with a goldsmith, but he determined to be a
painter, and entered the school of Cosimo Rosselli, where he was the
intimate friend of Baccio della Porta, called Fra Bartolommeo.
Mariotto imitated Baccio so closely as to render it difficult to distin-
guish between the two, especially in some works which they did in
company, and he was called a second Bartolommeo. After they left
Rosselli they dwelt together. Mariotto became the protege of the
wife of Pietro dei Medici, and painted for- her several pictures,
besides her own portrait. When Pietro was banished, Mariotto
returned to the house of Baccio. When the latter became a monk,
Mariotto was almost insane with grief, and could interest himself in
nothing. Baccio had left unfinished the “ Last Judgment ” for the
Cemetery of S. Maria Nuova, and as he had received part pay-
ment for it he desired Mariotto to complete it. He did this with
great care. He could not equal Baccio, because not equally gifted
by nature ; but the pictures of both had the same life in action,
elegance in proportion, and sharpness and careful minuteness in
finish. His earlier works were lost. One of the oldest known is
No. 25 Louvre, “ Christ appearing to the Magdalene.” In 1503 he
executed “ The Salutation,” now in the Uffizi, and generally consid-
ered his master-piece. He next painted the fine “ Nativity,” No. 365
Pitti Gall. Soon after this Fra Bartolommeo resumed his brush
and became the head of the work-shop of S. Marco. Mariotto
painted “The Crucifixion,” No. 24 Louvre, and received many pupils.
He spent much time attempting to improve oil mediums, being espe-
cially dissatisfied with the white, but his experiments amounted to
little. He could not endure criticism, and became so disgusted with
it that he forsook painting and kept a tavern. He declared himself
then “ where there was no embarrassment with perspective, fore-
shortenings, or muscles, and no criticism or censure to dread ; ” and
that his former calling “ was to imitate flesh and blood, whereas
that he had adopted made both flesh and blood.” But he soon hated
this more than painting, which he resumed. Late in life he went to
Rome, where he became ill. He was taken to Florence on a litter,
ALBANI — ALBERTINELLI.
Albani or Albano, Gio. Baptiste, died 1668. Brother of Fran-
cisco, whom he imitated so closely that his pictures were sometimes
mistaken for his.
Alberelli, Giacomo, born at Venice (1600—1650). Pupil of Ja-
copo Palma, the younger, with whom he painted thirty-four years.
Several pictures by Alberelli are in his native city, the most esteemed
being the “ Baptism of Christ ” in the ch. of the Ognissanti.
Alberici, Enrico, born at Vilminore in Bergamo (1714-1775).
Pupil of Ferdinand© Cairo of Brescia. He had a good reputation,
and painted his principal pictures for the ch. Dei Miracoli, at
Brescia.
Albertinelli, Mariotto, born at Florence (1474-1515). His
father placed him with a goldsmith, but he determined to be a
painter, and entered the school of Cosimo Rosselli, where he was the
intimate friend of Baccio della Porta, called Fra Bartolommeo.
Mariotto imitated Baccio so closely as to render it difficult to distin-
guish between the two, especially in some works which they did in
company, and he was called a second Bartolommeo. After they left
Rosselli they dwelt together. Mariotto became the protege of the
wife of Pietro dei Medici, and painted for- her several pictures,
besides her own portrait. When Pietro was banished, Mariotto
returned to the house of Baccio. When the latter became a monk,
Mariotto was almost insane with grief, and could interest himself in
nothing. Baccio had left unfinished the “ Last Judgment ” for the
Cemetery of S. Maria Nuova, and as he had received part pay-
ment for it he desired Mariotto to complete it. He did this with
great care. He could not equal Baccio, because not equally gifted
by nature ; but the pictures of both had the same life in action,
elegance in proportion, and sharpness and careful minuteness in
finish. His earlier works were lost. One of the oldest known is
No. 25 Louvre, “ Christ appearing to the Magdalene.” In 1503 he
executed “ The Salutation,” now in the Uffizi, and generally consid-
ered his master-piece. He next painted the fine “ Nativity,” No. 365
Pitti Gall. Soon after this Fra Bartolommeo resumed his brush
and became the head of the work-shop of S. Marco. Mariotto
painted “The Crucifixion,” No. 24 Louvre, and received many pupils.
He spent much time attempting to improve oil mediums, being espe-
cially dissatisfied with the white, but his experiments amounted to
little. He could not endure criticism, and became so disgusted with
it that he forsook painting and kept a tavern. He declared himself
then “ where there was no embarrassment with perspective, fore-
shortenings, or muscles, and no criticism or censure to dread ; ” and
that his former calling “ was to imitate flesh and blood, whereas
that he had adopted made both flesh and blood.” But he soon hated
this more than painting, which he resumed. Late in life he went to
Rome, where he became ill. He was taken to Florence on a litter,