DOI chapter:
Painters, Sculptors, Architects, Engravers, and their Works
DOI Page / Citation link:https://doi.org/10.11588/diglit.61295#0161
BRUYN — BUGIARDINI.
139
with wings, is a good work. Berlin Mus., No. 639, is a work of his
later time, in which he deteriorated; it is a “Madonna and Child,”
adored by the Duke of Cleves. He attempted in his last works
to adopt an Italian style, greatly to his disadvantage. Some of these
pictures are in the Cologne and Munich galleries, and are often
attributed to Martin Van Hemskerk.
Bry or Brie, Theodore de, born at Liege, 1528 ; died at Frank-
fort, 1598. An eminent engraver. He imitated Sebald Beham.
He worked almost entirely with the graver. His style was neat and
free, and especially suited to subjects in which there are many
figures, such as he frequently chose. He gave great spirit and ex-
pression to his heads. He engraved the plates for the first four
volumes of Boissard’s “Roman Antiquities;” the two others were
finished by his sons, John Theodore and John Israel. In Frankfort
Bry was a print and book seller.
Bucklaer, Joachim, flourished 1550-1570. Pupil of Pieter Aerts-
zen, whom he imitated closely. His kitchen and market scenes were
very popular. “ Christ before Pilate,” No. 78, Munich Gall., is by
Bucklaer.
Buffalmacco, real name Buona'mico Christofani. Vasari says he
was born in 1262 and died in 1340; that he was a pupil of Andrea
Tafi: and Ghiberti bears out his statement that he was an excellent
painter and able to outdo all others when he set his mind to it.
Vasari’s account of him is very interesting. He seems to have been
the wit and practical joker among the artists of his day. His fame
has outlasted his works, for it is a matter of great doubt if any of
these remain. Kugler says his existence is doubtful, and his life by
Vasari a mere tissue of whimsical stories. Lord Lindsay, in his
‘Sketches of the History of Christian Art,” says: “ A merry wag,
a careless spendthrift, living for the day without a thought of the
morrow, and (as the phrase is) ‘ nobody’s enemy but his own,’ he
drained the cup of pleasure to the lees and found misery at the bot-
tom, dying, at the age of seventy-eight, a beggar, in the Misericordia,
without a paul in his pocket to buy a coffin for his corpse or a
mass for his soul, the type and mirror of a whole class of artists,
whose follies and vagaries throw discredit on genius, while a certain
kindliness of heart renders it impossible not to pity while we blame
them.”
Bugiardini, Giuliano, born near Florence (1471-1554). Pupil
of Mariotto Albertinelli. Michael Angelo formed a friendship for
him in the gardens of S. Marco, and he is one of those whom the
great master attempted to employ as assistants in the Sistine Chapel.
Bugiardini worked so long in an humble capacity, copying the
drawings of others on panels, that when he came to work indepen-
dently his powers of composition were dwarfed, and he could only
master the simplest subjects. He sometimes seemed to imitate
139
with wings, is a good work. Berlin Mus., No. 639, is a work of his
later time, in which he deteriorated; it is a “Madonna and Child,”
adored by the Duke of Cleves. He attempted in his last works
to adopt an Italian style, greatly to his disadvantage. Some of these
pictures are in the Cologne and Munich galleries, and are often
attributed to Martin Van Hemskerk.
Bry or Brie, Theodore de, born at Liege, 1528 ; died at Frank-
fort, 1598. An eminent engraver. He imitated Sebald Beham.
He worked almost entirely with the graver. His style was neat and
free, and especially suited to subjects in which there are many
figures, such as he frequently chose. He gave great spirit and ex-
pression to his heads. He engraved the plates for the first four
volumes of Boissard’s “Roman Antiquities;” the two others were
finished by his sons, John Theodore and John Israel. In Frankfort
Bry was a print and book seller.
Bucklaer, Joachim, flourished 1550-1570. Pupil of Pieter Aerts-
zen, whom he imitated closely. His kitchen and market scenes were
very popular. “ Christ before Pilate,” No. 78, Munich Gall., is by
Bucklaer.
Buffalmacco, real name Buona'mico Christofani. Vasari says he
was born in 1262 and died in 1340; that he was a pupil of Andrea
Tafi: and Ghiberti bears out his statement that he was an excellent
painter and able to outdo all others when he set his mind to it.
Vasari’s account of him is very interesting. He seems to have been
the wit and practical joker among the artists of his day. His fame
has outlasted his works, for it is a matter of great doubt if any of
these remain. Kugler says his existence is doubtful, and his life by
Vasari a mere tissue of whimsical stories. Lord Lindsay, in his
‘Sketches of the History of Christian Art,” says: “ A merry wag,
a careless spendthrift, living for the day without a thought of the
morrow, and (as the phrase is) ‘ nobody’s enemy but his own,’ he
drained the cup of pleasure to the lees and found misery at the bot-
tom, dying, at the age of seventy-eight, a beggar, in the Misericordia,
without a paul in his pocket to buy a coffin for his corpse or a
mass for his soul, the type and mirror of a whole class of artists,
whose follies and vagaries throw discredit on genius, while a certain
kindliness of heart renders it impossible not to pity while we blame
them.”
Bugiardini, Giuliano, born near Florence (1471-1554). Pupil
of Mariotto Albertinelli. Michael Angelo formed a friendship for
him in the gardens of S. Marco, and he is one of those whom the
great master attempted to employ as assistants in the Sistine Chapel.
Bugiardini worked so long in an humble capacity, copying the
drawings of others on panels, that when he came to work indepen-
dently his powers of composition were dwarfed, and he could only
master the simplest subjects. He sometimes seemed to imitate