229:
472:
368:
214:
423:, below which Mary is found. Presentation is typically Mannerist in elongated limbs and elegant poses, with mostly soft blue and pink colors. There is experimentation with the colors, which change in shadows and folds of drapery. Floating in the clouds are angels and cherubs, with considerable variation in postures, with
404:
His work is representative of
Mannerism, characterized by elongated figures with slender limbs and delicate fingers in posing gracefully in condensed compositions. Drapery is characteristically crisp and "paper-like". The colors are saturated, often pastel blues and pinks. Bitti's Mannerism, however,
200:
and religious education of the natives. After 1584, Bitti traveled all over South
America, painting where he went. His mobile lifestyle was a testament to his popularity with the Jesuits, but it led to Bitti's being unable to set up a workshop or have apprentices. Nevertheless, his influence in the
269:
had asked for Rome to send them skilled painters. Bitti was identified as the best one available; his Jesuit background would make him the ideal painter of altarpieces. Thus Bitti was commissioned on a Jesuit mission to Peru in 1571, becoming the first artist to travel on a Jesuit mission to South
459:
in Cusco, is typical of Bitti. Mary, with sharp features, is set against a background that does not reveal a setting. In the painting, made for devotion, she is at the same time accessible to the devotee and exists in an otherworldly realm. The colors are cool and pastel, and drapery folds in the
429:
all over. The painting, however, differs from typical
Mannerism in one important regard. It is markedly symmetrical and focused. As such, it emphasizes the Trinity in accordance with the didactic mission of the Jesuits and in the spirit of the Counter-Reformation. Bitti painted the persons of the
282:
is also attested. The Jesuit party arrived in Peru in 1575, where Bitti introduced
Mannerism to the country. He became a very sought after artist because of the novelty of his style in the new continent. One of Bitti's first tasks was to paint a collection for the Jesuit college and
519:
immediately in his year of arrival – few became as influential as Bitti, whose influence on painting in
Viceroyal Peru was decisive. Although Bitti never stayed in one place long enough to establish a workshop or train apprentices, his work influenced many painters of the
353:. Most of his works were made in Juli. Of his paintings, only those in Peru remain. Bitti collaborated with other artists, including his fellow Jesuit Pedro de Vargas, in art projects all over the Peru. These collaborations included the sculptural support for many
548:. Many yet to be attributed works in Peruvian churches and monasteries also carry the hallmarks of Bitti's influence. Because of Bitti's influentiality, Mannerism featured in Peruvian and Bolivian art even after the style went out of fashion in Europe.
393:, including a noteworthy one in Cusco. Bitti was painting for a dual audience of European-born immigrants and newly converted natives. He was also under the constraint of carefully crafting his works to conform with the requirements of the post
413:. Although there is no contemporary material to conclude if Bitti's work was well-received, this is likely the case because he was sent to so many locations in South America. Today, Bitti's work is considered skillfully executed.
449:, also at St. Peter's, features Mary holding infant Jesus while angels provide light with candles. The dramatic light it features is typical of the works of Bitti and something that he probably adopted from his time in Spain.
242:, Italy in 1548. Few details about his life in Europe are known. He became a painter at an early age and as a teenager he moved to Rome to study painting for a period of five years. His studies focused on Italian
442:
takes the form of a dove. This was to avoid potential confusion that could arise in the eyes of natives when looking at paintings that portray the
Trinity as a three-faced man or three near-identical men.
270:
America. The expedition party traveled through Spain on their way to Peru. It is not known precisely what Bitti did during his stay in Spain, but it appears that he had the opportunity to study
456:
193:
507:
Bitti returned to Lima and continued to work there until his death in 1610. At the time of his death, Bitti was an esteemed artist. Bitti is considered the founder of the
533:
201:
region was immense, and resulted in
Mannerism persisting in South America even when it had fallen out of favor in Europe. Bitti is regarded as the founder of the
537:
409:, "with the delicacy of the followers of Michelangelo and Raphael". Lines are dominant and the colors are cool, exposing Bitti's kinship with the works of
529:
499:, has an elongated and graceful Christ figure and an angel, both in pastel draperies that seem to ignore both gravity and the shape of their bodies.
327:
1121:
1019:
405:"lacked the confusion, erudition, and sometimes erotic sway" that was typical of the style in his native Italy. Bitti painted in
221:
1161:
1141:
1136:
1131:
1146:
1009:
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typical brittle fashion. The painting relies on visual exaggeration reminiscent of the work of
Italian Mannerists like
274:
painting for 14 months. It has been subsequently noted that his paintings resemble particularly those of the painter
511:
of painting. Even though many other
Italian painters followed in his footsteps to South America – including
439:
284:
255:
185:
1068:
258:, also in Rome, where he stayed until 1573. He might have painted some works there, but none survive.
315:
228:
997:
974:
910:
1156:
933:
390:
189:
731:
1116:
1111:
729:
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723:
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636:
634:
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310:, both for the Jesuit church of Cusco. For its Indian chapel, he painted a setting of the
8:
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608:
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writing in 1612. Later in his career, Bitti traveled through
Spanish America including
302:
In 1583, Bitti moved to Cusco, where he stayed until the end of 1584. There he painted
279:
953:
603:
1090:
1069:"Catholic Presence and Power: Jesuit Painter Bernardo Bitti at Lake Titicaca in Peru"
1048:
1005:
982:
939:
918:
1080:
394:
278:, probably through seeing his works rather than by training with him. Influence by
132:
29:
160:. On his way to Peru, Bitti traveled through Spain, where he became influenced by
1040:
516:
496:
479:
275:
165:
512:
431:
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314:, now lost, the sight of which persuaded many natives to convert, according to
262:
153:
1085:
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1105:
1094:
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311:
367:
557:
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202:
168:. Bitti arrived in Peru in 1575 and started painting for churches first in
435:
386:
307:
271:
251:
243:
161:
145:
120:
319:
461:
355:
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323:
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in St. Peter's Church. He stayed in Lima for eight years, working.
239:
196:
in Cusco. In addition to Mannerism, his works reflect ideas of the
44:
886:
532:
is the only artist known to have been a proper follower of Bitti.
420:
406:
332:
296:
141:
911:"From Iberia to the Americas: Hispanic Art of the Colonial Era"
342:
247:
192:
was a recurring theme in his paintings, one of which is in the
137:
823:
544:
also exhibit influences. Through Bedón, Bitti influenced the
521:
382:
375:
346:
338:
173:
917:. Manchester: Manchester University Press. pp. 92–187.
169:
157:
149:
59:
981:. New York: Cambridge University Press. pp. 319–320.
935:
Art and Architecture of Viceregal Latin America, 1521-1821
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389:. Especially numerous are his works on the theme of the
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The Connoisseur: An Illustrated Magazine for Collectors
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Most of Bitti's works are on the life and persons of
874:
862:
847:
835:
176:. His works in Lima include the typically Mannerist
1002:
Art and Reform in the Late Renaissance: After Trent
998:"Bernardo Bitti: An Italian Reform Painter in Peru"
763:
744:
696:
570:
1103:
1041:"The Cuzco School of Painting, a Gothic Revival"
1047:. Vol. 189, no. 759. pp. 20–27.
938:. Albuquerque: University of New Mexico Press.
931:
892:
829:
960:. Encyclopædia Britannica, inc. 1 January 2019
287:in Lima. His paintings in the church include
246:. At the age of 20, in 1568, Bitti became a
908:
817:
1084:
979:The Cambridge Encyclopedia of the Jesuits
419:in St. Peter's Church is centered on the
470:
366:
227:
212:
1038:
1004:. London: Routledge. pp. 367–389.
972:
915:Art, Commerce and Colonialism 1600–1800
805:
690:
222:Basilica and Convent of San Pedro, Lima
1104:
1066:
995:
880:
868:
856:
841:
793:
781:
769:
757:
702:
597:
238:Democrito Bernardo Bitti was born in
62:, Viceroyalty of Peru, Spanish Empire
502:
13:
1122:Peruvian people of Italian descent
1060:
14:
1173:
975:"Bitti, Bernardo, SJ (1548—1610)"
932:Donahue-Wallace, Kelly (2008).
438:are of different ages, and the
977:. In Worcester, Thomas (ed.).
902:
524:, especially in Cusco and the
1:
1162:17th-century Peruvian Jesuits
1142:16th-century Peruvian Jesuits
1137:16th-century Italian painters
1132:17th-century Italian painters
1034:– via Encyclopedia.com.
1000:. In Locker, Jesse M. (ed.).
563:
489:
468:, but without any eroticism.
430:Trinity as clearly distinct:
164:painting, especially that of
1147:16th-century Italian Jesuits
447:The Virgin of the Candelaria
293:The Virgin of the Candelaria
233:The Virgin of the Candelaria
182:The Virgin of the Candelaria
98:The Virgin of the Candelaria
56:1610 (aged 61–62)
7:
1127:Peruvian Mannerist painters
1039:Stastny, Francisco (1975).
909:Baker-Bates, Piers (2018).
551:
136:(1548–1610) was an Italian
10:
1178:
1152:Italian Mannerist painters
1026:. The Gale Group Inc. 2003
1086:10.1163/22141332-00602005
1073:Journal of Jesuit Studies
1024:New Catholic Encyclopedia
913:. In Barker, Emma (ed.).
737:New Catholic Encyclopedia
316:Inca Garcilaso de la Vega
208:
116:
83:
75:
67:
52:
37:
23:
973:Fleming, Alison (2017).
417:Coronation of the Virgin
362:
289:Coronation of the Virgin
256:Sant'Andrea al Quirinale
218:Coronation of the Virgin
203:Cusco School of painting
178:Coronation of the Virgin
156:after having studied in
129:Democrito Bernardo Bitti
93:Coronation of the Virgin
25:Democrito Bernardo Bitti
1067:Irwin, Christa (2019).
996:Irwin, Christa (2018).
958:Encyclopædia Britannica
650:Encyclopædia Britannica
455:, an altarpiece in the
482:
378:
235:
225:
534:Lázaro Pardo de Lagos
474:
457:Basilica of La Merced
453:Immaculate Conception
391:Immaculate Conception
372:Immaculate Conception
370:
304:Immaculate Conception
250:and relocated to the
231:
216:
194:Basilica of La Merced
190:Immaculate Conception
152:, where he went on a
103:Immaculate Conception
893:Donahue-Wallace 2008
830:Donahue-Wallace 2008
526:Audiencia of Charcas
295:. Bitti also made a
895:, pp. 135–136.
796:, pp. 377–378.
784:, pp. 375–376.
486:Agony in the Garden
476:Agony in the Garden
426:figura serpentinata
399:Counter-Reformation
267:Viceroyalty of Peru
198:Counter-Reformation
108:Agony in the Garden
483:
379:
306:and constructed a
285:St. Peter's Church
280:Giuseppe Valeriano
236:
226:
186:St. Peter's Church
1020:"Bitti, Bernardo"
1011:978-0-429-86336-3
988:978-1-108-50850-6
945:978-0-8263-3459-6
924:978-1-5261-2293-3
538:Diego Cusi Guamán
172:and from 1583 in
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125:
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1098:
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954:"Bernardo Bitti"
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839:
833:
827:
821:
818:Baker-Bates 2018
815:
809:
803:
797:
791:
785:
779:
773:
767:
761:
755:
742:
733:
706:
700:
694:
688:
655:
646:
601:
595:
530:Gregorio Gamarra
503:Death and legacy
494:
491:
395:Council of Trent
336:
144:. He introduced
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86:
32:
21:
20:
1177:
1176:
1172:
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1061:Further reading
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517:Angelino Medoro
505:
497:Lima Art Museum
495:and now in the
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480:Lima Art Museum
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330:
276:Luis de Morales
261:Meanwhile, the
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166:Luis de Morales
131:
112:
84:
63:
57:
48:
42:
33:
28:
26:
17:
16:Italian painter
12:
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5:
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1079:(2): 270–293.
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883:, p. 373.
873:
871:, p. 383.
861:
859:, p. 379.
846:
844:, p. 382.
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820:, p. 141.
810:
798:
786:
774:
772:, p. 375.
762:
760:, p. 367.
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705:, p. 369.
695:
693:, p. 319.
656:
602:
600:, p. 372.
568:
567:
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561:
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432:God the Father
411:Giorgio Vasari
364:
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263:Jesuit mission
210:
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154:Jesuit mission
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76:Known for
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832:, p. 41.
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312:Last Judgment
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1157:Cusco School
1076:
1072:
1044:
1028:. Retrieved
1023:
1001:
978:
962:. Retrieved
957:
934:
914:
888:
876:
864:
837:
825:
813:
806:Stastny 1975
801:
789:
777:
765:
736:
698:
691:Fleming 2017
649:
558:Peruvian art
546:Quito School
528:in Bolivia.
513:Matteo Pérez
509:Cusco School
506:
485:
484:
475:
466:Parmigianino
452:
451:
446:
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97:
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85:Notable work
18:
1117:1610 deaths
1112:1548 births
903:Works cited
542:Pedro Bedón
493: 1600
440:Holy Spirit
387:Virgin Mary
331: [
140:priest and
68:Nationality
1106:Categories
881:Irwin 2018
869:Irwin 2018
857:Irwin 2018
842:Irwin 2018
794:Irwin 2018
782:Irwin 2018
770:Irwin 2018
758:Irwin 2018
703:Irwin 2018
598:Irwin 2018
564:References
488:, painted
308:high altar
1095:2214-1324
1053:0010-6275
272:Sevillian
252:novitiate
244:Mannerism
162:Sevillian
146:Mannerism
121:Mannerism
1030:26 April
964:26 April
552:See also
462:Bronzino
356:retablos
351:Chucuito
324:Arequipa
240:Camerino
79:Painting
45:Camerino
421:Trinity
407:tempera
397:era of
297:retable
265:in the
142:painter
71:Italian
47:, Italy
1093:
1051:
1008:
985:
942:
921:
540:, and
349:, and
343:La Paz
320:Potosí
248:Jesuit
209:Career
188:. The
138:Jesuit
522:Andes
383:Jesus
376:Cusco
363:Works
347:Sucre
339:Acora
335:]
174:Cusco
117:Style
1091:ISSN
1049:ISSN
1032:2019
1006:ISBN
983:ISBN
966:2019
940:ISBN
919:ISBN
739:2003
652:2019
515:and
464:and
434:and
385:and
328:Juli
291:and
184:for
180:and
170:Lima
158:Rome
150:Peru
60:Lima
53:Died
41:1548
38:Born
1081:doi
436:Son
374:in
254:of
148:to
1108::
1089:.
1075:.
1071:.
1043:.
1022:.
956:.
849:^
746:^
710:^
659:^
605:^
572:^
536:,
490:c.
478:.
401:.
359:.
345:,
341:,
337:,
333:es
326:,
322:,
220:.
205:.
133:SJ
30:SJ
1097:.
1083::
1077:6
1055:.
1014:.
991:.
968:.
948:.
927:.
741:.
654:.
224:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
