Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 28 værker af Bartolomé Bermejo i vores katalog
Kort sagt
Af alle de originale værker, som Bartolomé Bermejo efterlod, er det mest berømte Ferdinand I of Castile welcoming Saint Dominic of Silos (1478), som er en del af samlingen på Museo del Prado i Madrid. Lige efter følger Saint Augustine (1481) og Sainte Engratia (1474). Vores katalog indeholder 28 værker af Bartolomé Bermejo; galleriet har bevaret de 28 værker, som verden beundrer mest, hver vist med sin dato, sit museum og sin historie.
The air in the scene feels heavy with the weight of velvet and the stillness of a formal greeting. Ferdinand I of Castile, draped in a tunic of intricate brocade, extends a hand toward the monk, Saint Dominic of Silos. The king’s presence is a study in earthly power, marked by the metallic luster of a crown and the sharp, precise lines of his doublet. Opposite him, the saint moves…
The figure of Saint Augustine is captured in a moment of intense scholarly focus, seated within a complex architectural interior. Dressed in ornate liturgical vestments, the Saint wears a golden mitre and a richly embroidered cope that catches the light. He holds a quill, poised as if mid-sentence, while his gaze remains fixed on his work. Through an archway in the background, a secondary figure is visible in a distant…
Sainte Engratia is an oil painting on panel executed by the artist Bartolomé Bermejo. The work depicts Saint Engracia, a figure identified as a Portuguese princess and martyr. This specific piece functioned as the central panel of a larger altarpiece. The painting dates to 1474.
The composition centers on the body of Jesus Christ, positioned horizontally upon an ornate coffin. His pale skin contrasts with the dark, saturated tones of the surrounding environment. Two angels support the weight of the body, their forms integrated into the central pyramidal structure. To the side, Mary Magdalene is depicted in a state of grief, her presence adding to the somber atmosphere of the scene. The figures are arranged…
The oil painting on panel presents a dense arrangement of figures within a shallow, compressed space. At the center, the Virgin Mary holds the infant Christ Child. Surrounding them are the three Magi and various attendants, all positioned amidst architectural ruins consisting of brick walls and arches. The lighting is directional, casting deep shadows and creating bright highlights on the folds of the textiles and the surfaces of metallic objects.…
In this 1477 work, we find ourselves witnessing a heavy, crowded moment of transition. The composition is built upon a vertical stack of figures, all gathered around the central, pale form of Christ as he is lowered from the cross. There is a palpable sense of weight here, not only in the physical struggle of the men maneuvering the body, but in the collective sorrow that pulls the viewer into…
Saint Damian by Bartolomé Bermejo is a vertical, full-length portrait of a single figure positioned centrally within the frame. The subject is depicted from head to toe, standing against a shimmering gold background that occupies the upper portion of the composition. At the base of the figure, a checkered marble floor provides a sense of grounded space. The saint holds a small glass vial in his raised right hand, a…
To look upon this 1479 altarpiece is to witness a moment of profound transition. It is a schematic diagram, a structural blueprint that reveals the architectural soul of a religious monument. The work presents a meticulous layout of rectangular panels, a geometric dance of lines that defines the hierarchy of the sacred. Within these boundaries, we find a vision of the Virgin Mary, the Mare de Déu de la Misericordia,…
The work before us is titled Death of Santo Domingo de Silos, a significant religious oil painting executed by Bartolomé Bermejo. This piece originated as a panel, specifically designed to function as part of the larger altarpiece of Santo Domingo de Silos. It represents a moment of profound spiritual transition, captured through the meticulous hand of a painter deeply engaged with the technical advancements of his era.
The Altarpiece of Santo Domingo de Silos is a work by the artist Bartolomé Bermejo. This large-scale commission was intended to serve as the central altarpiece for the church of Santo Domingo de Silos, located in Daroca, Zaragoza. The formal contract for the execution of this retablo mayor was signed on September 5, 1474.
predella from altarpiece of Sainte Engratia1477
12
Imprisonment of Sainte Engratia1477
13
The Arrest of Santa Engracia1477 · San Diego Museum of Art
14
ascension1480
15
Saint John the Baptist1470 · Museum of Fine Arts of Seville
16
Nursing Madonna1470
17
The Flagellation of St Engracia1474 · Bilbao Fine Arts Museum
18
Descent of Christ into Limbo1475 · Museu Nacional d'Art de Catalunya
19
Christ Leading the Patriarchs to the Paradise1480 · Institute of Hispanic Art
20
Crucifixion1480 · Parish church
21
Death of the Virgin1460 · Staatliche Museen zu Berlin
22
Christ Leading the Patriarchs to the Paradise (detail)1480 · Institute of Hispanic Art
23
Retable of the Virgin of Montserrat1485 · Cathedral
24
Pietà of Canon Luis Desplá (detail)1490 · Katedralen i Barcelona
25
St Dominic Enthroned in Glory1474 · Museo del Prado
26
Resurrection of Christ1475 · Museu Nacional d'Art de Catalunya
27
Pietà of Canon Luis Desplá1490 · Katedralen i Barcelona
28
Saint Michael Triumphs over the DevilNational Gallery
De fire motiver, der optræder hyppigst i disse originaler, hver med sit fineste eksempel.
De 8 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Bartolomé Bermejo | Malerier fra denne liste |
|---|---|---|---|
 Museo del Prado |
Madrid | 3 | Ferdinand I of Castile welcoming Saint Dominic of Silos, Altarpiece of Santo Domingo de Silos, St Dominic Enthroned in Glory |
 Museu Nacional d'Art de Catalunya |
Barcelona | 2 | Descent of Christ into Limbo, Resurrection of Christ |
 Institute of Hispanic Art |
Barcelona | 2 | Christ Leading the Patriarchs to the Paradise, Christ Leading the Patriarchs to the Paradise (detail) |
 Katedralen i Barcelona |
Barcelona | 2 | Pietà of Canon Luis Desplá (detail), Pietà of Canon Luis Desplá |
 Art Institute of Chicago |
Chicago | 1 | Saint Augustine |
 Isabella Stewart Gardner Museum |
Boston | 1 | Sainte Engratia |
 Museo de Castillo |
Perellada | 1 | Christ at the Tomb Supported by Two Angels |
 Museo de la Capilla Real |
Granada | 1 | The Adoration of the Magi |
Vælg et årti for at se det originale værk, der definerer det.
The composition centers on the body of Jesus Christ, positioned horizontally upon an ornate coffin. His pale skin contrasts with the dark, saturated tones of the surrounding environment. Two angels support the weight of the body, their forms integrated into the central pyramidal structure. To the side, Mary Magdalene is depicted in a state of grief, her presence adding to the somber atmosphere of the scene. The figures are arranged…
The air in the scene feels heavy with the weight of velvet and the stillness of a formal greeting. Ferdinand I of Castile, draped in a tunic of intricate brocade, extends a hand toward the monk, Saint Dominic of Silos. The king’s presence is a study in earthly power, marked by the metallic luster of a crown and the sharp, precise lines of his doublet. Opposite him, the saint moves…
The figure of Saint Augustine is captured in a moment of intense scholarly focus, seated within a complex architectural interior. Dressed in ornate liturgical vestments, the Saint wears a golden mitre and a richly embroidered cope that catches the light. He holds a quill, poised as if mid-sentence, while his gaze remains fixed on his work. Through an archway in the background, a secondary figure is visible in a distant…
Ferdinand I of Castile welcoming Saint Dominic of Silos (1478), Museo del Prado, Madrid. Derefter følger Saint Augustine (1481) og Sainte Engratia (1474).
38 år gammel: Ferdinand I of Castile welcoming Saint Dominic of Silos er fra 1478, og Bartolomé Bermejo blev født i 1440.
Ferdinand I of Castile welcoming Saint Dominic of Silos, Saint Augustine, Sainte Engratia, Christ at the Tomb Supported by Two Angels, The Adoration of the Magi, Descent from the Cross, Saint Damian, Altarpiece of Mare de Déu de la Misericordia by Bartolomé Bermejo, Death of Santo Domingo de Silos og Altarpiece of Santo Domingo de Silos. Ranglisten ovenfor viser det enkelte værks årstal og museum.
Vores katalog indeholder 28 værker af Bartolomé Bermejo, dateret fra 1460 til 1490.
Primært i Museo del Prado (Madrid), Museu Nacional d'Art de Catalunya (Barcelona) og Institute of Hispanic Art (Barcelona). Museumslisten ovenfor viser dem alle.
I 1470s: 17 af de 28 værker på denne side blev skabt dengang, herunder Ferdinand I of Castile welcoming Saint Dominic of Silos.
På denne side er det tidligste Death of the Virgin (1460) og det seneste Pietà of Canon Luis Desplá (detail) (1490).
Woman (8), Man (6) og Architecture (5), fordelt på de 28 værker på denne side.
Oil On Panel, for 17 af de 28 værker på denne side.
Early renaissance og Spanish renaissance, baseret på originalerne på denne side.
Ferdinand I of Castile welcoming Saint Dominic of Silos, Altarpiece of Santo Domingo de Silos og St Dominic Enthroned in Glory: Museo del Prado, Madrid har 3 af værkerne på denne side.
Bartolomé Bermejo står som en skelsættende skikkelse i overgangen mellem gotikken og den tidlige renæssance, især på den Iberiske Halvø. Hans distinkte stil – kendetegnet ved en minutiøs detaljegrad, dramatisk lyssætning og en mesterlig realisme – sikrede ham anerkendelse som en af sin tids fremmeste malere og cementerede hans eftermæle som en pioner, der med succes assimilerede flamske maleteknikker i de spanske kunsttraditioner. Selvom de biografiske detaljer forbliver noget gådefulde på grund af mangelfuld dokumentation, er forskere enige om, at han blomstrede primært i Valencia, Daroca, Zaragoza og Barcelona i løbet af det sidste halve århundrede af det femtende århundrede.
Denne mesters tidlige liv og uddannelse er stadig indhyllet i et historisk mysterium. Præcis information om Bermejos fødested – Córdoba – er genstand for debat, og nyere forskning sætter spørgsmålstegn ved dens sikkerhed. Hans kunstneriske virke var dog centreret omkring fire vigtige spanske byer: Valencia (1468), Daroca (1474), Zaragoza (1477–84) og Barcelona (1486–1501). De nøjagtige oprindelser for hans træning er ukendte, men hans exceptionelle beherskelse af oliemalingens laseringsteknik – en teknik perfektioneret af de flamske mestre – tyder stærkt på en direkte eksponering for de kunstneriske innovationer fra Brügge og Gent. Denne dybe forbindelse til Norden gjorde det muligt for ham at bringe et niveau af teknisk sofistikering til Spanien, som man aldrig før havde set.
Bermejos samlede værk omfatter adskillige altertavler, der vidner om hans mesterskab over storslåede flersidede retabler. Hans teknik legemliggør ånden fra det flamske maleri, hvor der lægges vægt på omhyggelig observation og en bemærkelsesværdig præcis gengivelse af teksturer. Han benyttede sig dygtigt af laseringsteknikker – påføring af tynde, transparente lag af oliemaling – for at opnå en lysende dybde, der synes at gløde indefra. Denne metode gjorde det muligt for ham at indfange silkens glans, smagenes kolde hårdhed og den menneskelige huds bløde varme med en næsten taktil kvalitet.
Blandt hans mest fejrede bedrifter er værker, der udstiller både hans religiøse hengivenhed og hans tekniske ambitioner:
Bartolomé Bermejos historiske betydning ligger i hans rolle som en brobygger mellem epoker og kulturer. Gennem hans monumentale triptyk af Virgin of Montserrat i Valencia og hans ufuldendte højaltar-retabler i Santo Domingo de Silos og Santa Anna i Barcelona, demonstrerede han en uovertruffen dygtighed og ambition, der udvidede grænserne for spansk kunst. Han kopierede ikke blot de nordlige stilarter; han syntetiserede dem med en lokal følsomhed for at skabe noget helt unikt.
Ved at integrere den intense realisme og symbolske dybde fra den flamske tradition i det religiøse landskab på den Iberiske Halvø, hjalp Bermejo med at bane vejen for den efterfølgende blomstring af den spanske renæssance. Hans evne til at manipulere lys og skygge for at vække følelser står som et vidnesbyrd om hans geni, og sikrer, at hans navn fortsat vil genlyde hos både kunsthistorikere og beundrere af den fine kunst.
