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Permanent Collection

Bartolomeo Bettera - 1600–1700

(Bergamo, 1639 – ?, after 1688)

Born 1639 in Bergamo, still mentioned in 1688. Very little is known about the painter. We know that he was in Milan in 1687 and that he was subsequently active in Rome. His monumental still lifes owe much to the still lifes of the great Evaristo Baschenis of Bergamo. Numerous signed paintings are known.

Lit.: Marco Rosci, Bartolomeo e Bonaventura Bettera, I pittori Bergamaschi dal XIII al XIX secolo: Il Seicento III, Raccolta di studi a cura della Banca popolare di Bergamo, Bergamo 1985, pp. 151-183; La natura morta in Italia, Editor Federico Zeri, Vol. I-II, Milano 1989 (Text: Alessandro Morandotti); Seicento, Vol. I-II, Milano 1989 (biogr. Maria Cristina Rodeschini Galati).
From Mannerism to Baroque
Although imported early-Baroque works prevailed in this period and those by itinerant artists, the 17th century paved the way for the future. The political circumstances in the region were relatively stabilized in spite of the Thirty Year War and the patronage gradually grew stronger. The arrival of the Jesuits in Ljubljana, the activity of the polymath Johann Weichard Valvasor, particularly his graphic workshop at Bogenšperk/Wagensperg Castle, and the foundation of the Academia operosorum at the end of the century were the key events of the time. 

Characteristic of sculptural production on the Slovenian territory in the 17th century were the so-called “golden altars”. As a rule, these were gilded and polychrome carved wooden retables with rich ornamentation, first with crustaceous patterns which turned into vine and grapes that covered architectural framework until the achantus foliage took over and obliterated architectural structure completely. The making of golden altars included several branches of fine arts: prints, carving, gilding, painting. Religious painting of the first half of the century still contains Mannerist elements; in the second half also secular motifs became more numerous, particularly genre scenes and aristocratic portraits. The artworks mainly echo northern early-Baroque influences. 

Noteworthy among the newcomers who settled in Carniola with their workshops were the painter and gilder Hans Georg Geiger von Geigerfeld in the mid-century, who had moved to Carniola from the region of the Central Alps, and the Fleming Almanach in the third quarter of the 17th century, known only by his nickname, who worked here only for a few years. The extraordinary productivity and skills of the latter are evidenced by his rare surviving works, mentions in Valvasor’s books, and aristocratic probate inventories.