A pupil of Sebastiano Mazzoni, Bambini later travelled to Rome where he worked under Carlo Maratta. Like his contemporaries Antonio Balestra and Gregorio Lazzarini, Bambini's place in Venetian painting thus belongs to the phase at the end of the seventeenth century whereby academic influences from central Italy were introduced. These pictures also reflect the influence of his fellow Venetian Pietro Liberi and especially the richer colouring of Sebastiano Ricci. Alessandro Longhi, writing in his Compendio delle Vite de’ Pittori Veneziani (1762) praised Bambini unconditionally, saying that the Venetian nobles competed to own his paintings. The critic Antonio Maria Zanetti also praised him for his 'bellissime fisonomie di donne, varie molto e gentili'.2 Polacco and Martini suggest a date for these canvases to around 1710.
1 R. Radassao, 'Nicolo' Bambini "Pittore pronto spedito ed universal"', in Saggi e Memorie di Storia dell'Arte, no. 22, 1998, pp. 129, 131–287
2 A.M. Zanetti, Della pittura veneziana, Venice 1771, p. 424.
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