Bernardino Mei (1612-1676) stands as a significant, if sometimes overlooked, figure in the vibrant tapestry of 17th-century Italian art. Born in the historically rich city of Siena, Mei's artistic journey saw him transition from the deeply ingrained traditions of his native school to become a respected painter in Rome, the pulsating heart of the Baroque movement. His oeuvre, encompassing paintings, drawings, and engravings, reveals a fascinating synthesis of influences, a keen understanding of dramatic narrative, and a distinctive stylistic evolution that mirrors the artistic currents of his time. This exploration delves into the life, artistic development, key works, and lasting impact of a painter who successfully navigated the rich artistic landscapes of both Siena and Rome.
Early Life and Artistic Formation in Siena
Bernardino Mei was born in Siena in 1612 (some sources suggest 1615, but 1612 is more commonly accepted), a city with a proud and distinct artistic heritage that had, for centuries, rivaled Florence. By the early 17th century, Sienese art was characterized by a blend of lingering Mannerist elegance, a strong tradition of narrative painting, and a burgeoning interest in the naturalism that was sweeping across Italy, largely spurred by the revolutionary work of Caravaggio. It was within this environment that Mei received his initial artistic training.
His early instruction included an apprenticeship with the Sienese draughtsman and cartographer Giuliano Periccioli, where Mei would have honed his skills in drawing and likely gained his initial experience in the art of engraving. This foundational skill in precise line work and composition would serve him well throughout his career. Subsequently, he entered the workshop of Rutilio Manetti (1571-1639), a leading Sienese painter of the older generation. Manetti himself was a figure of transition, his earlier works showing a late Mannerist style, while his mature phase embraced a more robust naturalism and tenebrism, clearly influenced by Caravaggio and his followers. Under Manetti, Mei would have been exposed to this more dramatic and emotionally charged approach to painting.
It is also suggested that Mei may have spent time in the workshop of Francesco Rustici, known as "Il Rustichino" (1592-1626). Rustichino, another prominent Sienese artist, was also deeply influenced by Caravaggism, particularly via Dutch artists like Gerrit van Honthorst who had worked in Italy. Rustichino's paintings often feature strong chiaroscuro effects and a focus on realistic, often humble, figures. These early Sienese influences collectively shaped Mei's initial artistic vocabulary, instilling in him a respect for naturalistic observation, a tendency towards descriptive realism, and an understanding of how to imbue figures with a sense of tangible presence. Furthermore, the influence of Raffaello Vanni (1595-1673), a contemporary Sienese painter whose style leaned towards a more classical Baroque, also played a role in Mei's formative years, perhaps tempering the starker naturalism with a degree of Baroque dynamism and elegance.
The Sienese Period: Developing a Personal Voice
During his early career in Siena, Bernardino Mei began to forge his own artistic identity, absorbing and reinterpreting the influences around him. His works from this period demonstrate a careful study of Sienese artistic traditions, including the rich legacy of 16th-century masters from his hometown, alongside the newer currents of naturalism. He was not merely an imitator; rather, he sought to synthesize these diverse elements into a coherent personal style.
One of his early documented works is a Coffin painted for the Collegiate Church in Casole d'Elsa, a town near Siena. While details of this specific piece might be scarce in broader surveys, such commissions were typical for artists establishing their careers, providing opportunities to demonstrate their skill in narrative and devotional imagery. It is in works like these that one can often trace the artist's grappling with local traditions and emerging trends.
His painting, the Annunciation, now housed in the Seminario Arcivescovile di Montarioso, is a more telling example of his style during the 1630s and early 1640s. This work reportedly showcases an experimental phase, where Mei combined the naturalistic tendencies inherited from Manetti and Rustici with a softer, more fluid brushwork that hinted at the developing Baroque sensibility. The figures are rendered with a sense of solidity, yet there's an emerging grace and movement that would become more pronounced in his later career. He was already demonstrating an ability to convey tender emotion and spiritual significance through carefully observed human gestures and expressions.
A significant commission during his Sienese period was the series of frescoes depicting scenes from the Life of St. Bernard for the Church of San Domenico in Siena (some sources mention the Oratorio di San Bernardino, but San Domenico is also strongly cited for his Sienese works). Fresco painting demanded a different set of skills than easel painting – speed, confidence in execution, and an ability to compose on a large scale. These frescoes would have allowed Mei to engage with grand narrative cycles, a hallmark of Italian religious art, and to further develop his compositional abilities and his handling of complex figure groups. Such projects were crucial for an artist's reputation within their local community.
Throughout this Sienese phase, Mei also produced numerous easel paintings, often on religious themes, for local churches and private patrons. He was clearly absorbing the broader artistic climate, which included the lingering influence of earlier Sienese masters like Domenico Beccafumi, known for his emotive figures and distinctive use of light and color, and Sodoma, whose work brought High Renaissance ideals to Siena. While direct stylistic links might be subtle, the overall Sienese emphasis on expressive figures and rich narratives undoubtedly formed a part of Mei's artistic DNA.
The Call to Rome: Patronage of the Chigi Family
A pivotal moment in Bernardino Mei's career arrived in 1657. This was the year he was invited to Rome, a move that would significantly alter his artistic trajectory and elevate his status. The invitation came from a most prestigious source: Cardinal Fabio Chigi, who had been elected Pope Alexander VII in 1655. The Chigi family was one of Siena's most prominent noble families, and Pope Alexander VII was a renowned patron of the arts, deeply invested in transforming Rome into a magnificent testament to the glory of the Church and his papacy. His ambitious urban planning projects and artistic commissions reshaped the face of Baroque Rome, with Gian Lorenzo Bernini as his chief artistic advisor and executor.
The Pope's Sienese origins likely played a part in his decision to summon Mei. It was common for popes and influential cardinals to patronize artists from their home regions, bringing them into the competitive but highly rewarding Roman art world. For Mei, this was an unparalleled opportunity. Rome was the undisputed center of the art world in the 17th century, a magnet for artists from all over Europe. It was a city teeming with ancient ruins, Renaissance masterpieces, and the groundbreaking works of contemporary Baroque masters.
Upon his arrival in Rome, Mei was quickly integrated into the artistic establishment. He became a member of the prestigious Accademia di San Luca, the official artists' guild in Rome. Membership conferred status and provided opportunities for networking and further commissions. Under the patronage of Pope Alexander VII and his influential nephew, Cardinal Flavio Chigi (who was also a significant art collector and patron), Mei received numerous commissions for religious and allegorical paintings. These works were often destined for Chigi family palaces, chapels, and other properties, serving both devotional purposes and as displays of the family's wealth, piety, and cultural sophistication.
Artistic Maturity in the Eternal City: Roman Influences
The move to Rome marked the beginning of Bernardino Mei's mature artistic phase. The city's vibrant artistic environment, with its plethora of influences and high-stakes commissions, pushed him to refine and expand his style. While he retained elements of his Sienese training, particularly the naturalistic grounding and descriptive clarity, his work in Rome became increasingly imbued with the dynamism, emotional intensity, and grandeur characteristic of the High Baroque.
One of the most significant influences on Mei during his Roman period was undoubtedly the towering figure of Gian Lorenzo Bernini (1598-1680). While Bernini was primarily a sculptor and architect, his revolutionary approach to art – his emphasis on theatricality, emotional drama, the fusion of arts, and dynamic movement – had a profound impact on painters as well. Mei seems to have absorbed Bernini's sense of dramatic staging and psychological intensity. This can be seen in the more complex compositions, the heightened emotional expressions of his figures, and the overall sense of energy that pervades his Roman works.
Another important contemporary whose work likely resonated with Mei was Mattia Preti (1613-1699), known as "Il Cavalier Calabrese." Preti, a Neapolitan painter who also spent significant time in Rome, was renowned for his powerful, often large-scale compositions, his robust figures, and his dramatic use of chiaroscuro, carrying forward the legacy of Caravaggio in a distinctly Baroque manner. Mei's work, particularly in its handling of light and shadow and its energetic figure types, sometimes shows an affinity with Preti's style. For instance, frescoes Mei painted for an altar dedicated to St. John the Baptist in Siena (possibly before his permanent move but reflecting growing awareness of broader trends) are noted to show an inspiration from Preti.
The broader Roman school of painting also left its mark. Artists like Pietro da Cortona (1596/7-1669), a master of exuberant High Baroque ceiling frescoes, and Andrea Sacchi (1599-1661), who championed a more classical and restrained Baroque style, represented the dominant artistic currents. While Mei's primary focus remained on easel paintings and smaller-scale decorative works rather than vast frescoes in the Cortona mould, the overall Roman emphasis on rich color, complex allegory, and rhetorical power is evident in his mature output. He would have also been aware of the works of Bolognese classicists like Guido Reni and Domenichino, whose influence was still potent in Rome, and the continuing, albeit evolving, legacy of Caravaggism as seen in the works of artists like Artemisia Gentileschi. Even the presence of foreign artists like Nicolas Poussin and Claude Lorrain contributed to the rich artistic ferment of the city.
Key Works and Stylistic Characteristics of the Mature Period
Bernardino Mei's Roman period saw the full flowering of his talent, resulting in some of his most compelling and representative works. His style became more complex, his compositions more dynamic, and his emotional range broader. He skillfully blended the naturalistic observation of his Sienese training with the dramatic intensity and sophisticated rhetoric of Roman Baroque art.
One of his most celebrated paintings is Christ Cleansing the Temple. This subject, inherently dramatic, allowed Mei to showcase his ability to handle a complex multi-figure composition filled with energetic movement and strong emotion. The painting is characterized by its vibrant, almost forceful, color palette and strong, decisive lines. Christ's righteous anger is palpable, conveyed through his dynamic pose and stern expression, while the chaotic reactions of the merchants and money-changers create a whirlwind of activity. The work demonstrates Mei's mature command of Baroque principles: theatricality, emotional engagement, and a powerful narrative drive.
Another significant work is Orestes Slaying Aegisthus and Clytemnestra. This painting, tackling a dark and violent theme from Greek mythology, further illustrates Mei's capacity for depicting intense human drama. The composition is likely to be charged with tension, capturing the brutal climax of the narrative. Such mythological and historical subjects, often with strong allegorical undertones, were popular in Baroque art, allowing artists to explore profound human emotions and moral complexities. Mei's treatment would have emphasized the psychological states of the figures, using expressive gestures and facial features to convey the horror and tragedy of the event.
His allegorical paintings, often commissioned by the Chigi family, also form an important part of his Roman oeuvre. These works, rich in symbolism and erudite references, were designed to flatter his patrons and convey complex ideas about virtue, power, or faith. They required a sophisticated understanding of iconography and an ability to translate abstract concepts into compelling visual narratives.
Throughout his mature works, Mei demonstrated a consistent interest in the human figure, rendered with anatomical accuracy and a sense of weight and volume. His use of light and shadow, while perhaps not as starkly tenebrist as some of his Sienese predecessors or contemporaries like Preti, was nonetheless crucial in modeling forms, creating atmosphere, and highlighting the emotional focus of his compositions. His color palettes could range from rich and sonorous to more vibrant and agitated, depending on the subject matter and desired mood.
Themes and Artistic Concerns
Bernardino Mei's subject matter was diverse, though religious themes remained central throughout his career, reflecting the primary demands of his patrons and the overarching spiritual concerns of the Counter-Reformation era. He painted numerous altarpieces, devotional images for private chapels, and narrative scenes from the Old and New Testaments. His depictions of saints, such as the Life of St. Bernard frescoes, aimed to inspire piety and provide models of virtuous living.
Beyond overtly religious subjects, Mei also excelled in allegorical and historical paintings. Allegories, with their layered meanings and intellectual appeal, were particularly favored by educated patrons like the Chigi. These works often drew upon classical mythology, literature, and contemporary emblematic traditions. Historical scenes, whether from ancient history or more recent events, provided opportunities for grand compositions and the exploration of themes like heroism, justice, and sacrifice.
A recurring concern in Mei's art is the convincing depiction of human emotion. Whether portraying the divine anger of Christ, the tragic resolve of Orestes, or the ecstatic devotion of a saint, Mei sought to make these emotions legible and impactful for the viewer. This focus on psychological depth and dramatic expression aligns him firmly with the core tenets of Baroque art, which aimed to move, persuade, and engage the spectator on an emotional and intellectual level.
His work as a draughtsman and engraver, though less discussed than his paintings, also underscores his skill in composition and his ability to convey form and narrative through line. Engravings, in particular, played a crucial role in disseminating artistic ideas and images to a wider audience.
Later Years, Death, and Legacy
Bernardino Mei continued to work actively in Rome until his death in 1676. He remained a respected figure, though the loss of his key patron, Pope Alexander VII, in 1667, and later, according to some accounts, the loss of support from Raffaello Vanni in 1673 (who had been a Sienese connection and fellow artist), may have impacted the scale or frequency of his commissions in his final years. Despite this, his artistic output remained significant.
Unfortunately, like many artists of the past, some of Mei's works have been lost over time. For example, an altarpiece he created for the Sovana Cathedral is no longer extant. The dispersal of private collections, damage from wars, or changes in artistic taste can all contribute to the loss of an artist's oeuvre, making a complete assessment of their achievements sometimes challenging.
Bernardino Mei's historical impact is multifaceted. In Siena, he is remembered as one of the city's notable 17th-century painters, an artist who successfully engaged with the dominant Baroque style while retaining a connection to his Sienese roots. His move to Rome and his association with the Chigi papacy significantly enhanced his reputation and allowed his work to reach a wider audience.
Within the broader context of Italian Baroque art, Mei can be seen as a talented synthesizer. He adeptly combined the naturalistic tendencies of early 17th-century Sienese painting with the dynamism, emotionalism, and grandeur of the Roman High Baroque. He was not a radical innovator on the scale of Caravaggio or Bernini, but he was a highly skilled and intelligent painter who absorbed the artistic currents of his time and forged a distinctive personal style. His work reflects the artistic vitality of 17th-century Italy, a period of immense creativity and profound religious and cultural significance.
His influence on subsequent generations of artists, particularly in Siena and Central Italy, would have been felt through his students, his publicly accessible works, and the engravings made after his designs. While perhaps not a household name like some of his more famous contemporaries, Bernardino Mei's contributions to Italian Baroque painting are undeniable. His ability to convey complex narratives with clarity and emotional force, his skillful handling of the human figure, and his rich, often dramatic, use of color ensure his place as a noteworthy artist of his era. Scholars and connoisseurs, particularly in the 20th and 21st centuries, have continued to study his work, leading to a greater appreciation of his artistic achievements and his role in the rich artistic exchange between Siena and Rome.
Conclusion: An Artist of Synthesis and Expression
Bernardino Mei's career is a testament to the dynamic interplay of regional traditions and metropolitan artistic currents in 17th-century Italy. From his formative years in Siena, where he absorbed the lessons of local masters like Rutilio Manetti and Francesco Rustici, to his mature period in Rome under the prestigious patronage of the Chigi family, Mei consistently demonstrated a capacity for growth and adaptation. Influenced by the grandeur of Roman Baroque and the dramatic genius of figures like Gian Lorenzo Bernini and Mattia Preti, he forged a powerful and expressive style.
His paintings, whether depicting sacred narratives like Christ Cleansing the Temple, mythological dramas such as Orestes Slaying Aegisthus and Clytemnestra, or intricate allegories, are characterized by their dynamic compositions, psychological insight, and often vibrant use of color. He was an artist who understood the power of visual rhetoric, capable of engaging the viewer on both an emotional and intellectual level. While the artistic landscape of 17th-century Italy was populated by giants, Bernardino Mei carved out a significant niche for himself, leaving behind a body of work that continues to command respect and admiration for its skill, its expressive depth, and its embodiment of the Baroque spirit. He remains a compelling figure for those who seek to understand the rich complexities of Italian art during one of its most fertile periods.
