Bernat Martorell (died 1452 in Barcelona) was the leading painter of Barcelona, in modern-day Spain. He is considered to be the most important artiste of the International Gothic style in Catalonia. Martorell painted retable panels and manuscript illuminations, and carved sculptures and afterward provided designs for embroideries.
One of Martorell’s earliest surviving works, Saint George Slaying the Dragon (tempera on a drawing board, Art Institute of Chicago), depicting the patron Bernat Martorell, created in the early 1530s, has shown the complexity of the composition and the richness of colors Sex. And the small details that only a well-trained artist can do. Bernat Martorell (died Barcelona in 1452)[1] was the main painter in Barcelona, now Spain. He is considered to be the most important artist in the Catalan International Gothic style. His work transitioned between the works of Luis Borrassa and Jaume Huge, and it was believed that he could resonate with Bernat Martorell, Catalonia’s most popular artist from 1427 to 1452.
The altar dedicated to Saint Peter, currently in the Museu dArt de Girona, is the only directly documented work created by the artist. Little is known about his life before 1427, although he was one of the leading painters of Catalonia in the mid-15th century. Bernat Martorell, one of the most significant painters of Catalan Gothic, created this altar probably around 1430.
He trained in the workshop of the painter Luis Borrass, whom he soon replaced as the main figure of Catalan Gothic, in particular between 1430 and 1440 his workshop in Barcelona was the most important in Catalonia. It is known that he was also responsible for the coverage of Usatges de Barcelona, although Martorell dedicated this work to his friend and collaborator Bernat Raurich.
His Christ and the Samaritan woman transcended all boundaries of time and place to form one of the most successful solutions to this subject in history. Martorell’s style is very different from that of the Catalan Gothic artists who preceded him in chronological order, including Luis Borrassa. This work is of dual importance, because because of it, there are records indicating that it was written by Martorell, the author’s other works have been installed without documentation, and are traditionally attributed to a master named São Anonymous artist George. After signing the contract with San Pedro de Pubol, the knowledge belongs to Martorell. Martorell worked as a panel painter and illuminator in Barcelona, but was often responsible for preparing drawings for stained glass windows and sculptures.
Martorell sees himself as the representative of light as a painterly effect in Catalan painting. The Tournai archives have also been reduced to ashes, and with these three libraries not only their illuminated manuscripts and therefore the artwork themselves, but also the last chance to shed more light on the lives of important artists such as Gerherts, Kampen and Rogier van der Weyden. It is also believed that Martorell provided a model according to which the embroiderer Antonio Sadurni executed the frontal part of San Giorgio between 1450 and 1451, which is kept in the Palau de la Generalitat de Catalunyas Capella de Sant Jordi.
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