Roberti, Ercole De’

Ercole de’ Roberti, (born c. 1450, Ferrara, Papal States—died 1496, Ferrara), Italian painter of the Ferrarese school whose work is characterized by a highly personal style of sensibility and deep pathos.

Roberti is believed to have studied with Cosmè Tura, a court painter to the Este family of Ferrara, and he is known to have studied with Tura’s student Francesco del Cossa. Although his early paintings are influenced by the styles of both Tura and Cossa, he distinguished his work by exaggerating the emotional quality of his painting, at times at the expense of naturalism. Later works show Roberti to have achieved seriousness and intensity of emotion without sacrificing technique.

In 1470 Roberti worked with Cossa on a series of frescoes at the Palazzo Schifanoia in Ferrara. Scholars also believe he assisted Cossa in painting altarpieces in the Church of San Petronio in Bologna. During that five-year period, Roberti is believed to have worked on a predella, now in the Vatican Museum, and on the side panels of a large altarpiece now dismantled.

Roberti worked in Cossa’s workshop until the master’s death in 1478. From 1479 to 1486 he ran his own workshop in Ferrara, but he left the city to complete works begun by Cossa and to execute new commissions in other cities. About 1480 Roberti painted the famous profile portrait of Ginevra Bentivoglio. The large church work thought to have been executed solely by Roberti, The Madonna and Child with Saints (1481), is now known as the Ravenna Altarpiece.

Roberti was appointed by Duke Ercole I to replace Tura as court painter in 1486. His ability as a portraitist is evident thereafter in the many paintings of the members of this family that he completed. A predella, with scenes of the Passion, for the altar of the church of San Giovanni in Monte, Bologna, is also thought by most critics to be by Roberti; three of its panels remain: the Pietà, the Harvest of the Manna, and the Way of the Cross.

Roberti’s work is characterized by bright, metallic colours, sinuous lines, and an open conception of space. His dynamic figurative compositions are marked by an exceptional intensity of feeling.