The Spanish artist. About life Bermejo almost nothing is known, so it is difficult to attribute his work to a specific art school. About the period of his apprenticeship is still under debate. According to the signature on the "Drink" from the Cathedral in Barcelona, Bermejo could be a native of córdoba, but its style has nothing in common with the Andalusian school. Spanish Explorer Brake believes that the artist might be familiar with Nuno Gonsalves, and the American Post believes that van Eyck. Most recently, George. M. brown received evidence supporting the last hypothesis. Indeed, the painting "Death of Mary" (Berlin-Dahlem, Museum) has iconographic similarities with the master, who worked in Bruges and Ghent. However, the "Madonna" of Acqui (Italy) shows some contacts with Italy. In style Bermejo close to the masters of the Aragonese school; in Aragon, he worked in 1474, 1486 and 1495, together with Martin Bernat, Miguel Ximenes and Jaime Uge. Some art historians think that Bermejo founder of the Aragonese school; others, however, believe that the wandering artist was just a successor to the Aragonese masters. According to the hypothesis, Tormo, pay attention to the Hebrew inscriptions on some paintings by Bermejo, the artist was a baptized Jew. Creativity Bermejo does not have the maturity and perfection of his Flemish contemporaries, but it is full of deep force that expresses his aesthetic concept. Striving for monumentality, the master combines a sense of specificity and CCA-buoy physiognomic expressiveness. The landscape Bermejo acts as a naturalist; he subtly captures and transmits black and white effects, in only his peculiar manner. His creative evolution is a continual refusal of the Aragonese traits and appeal to more pathetic interpretation of the figures. Documents from the archives of the Cathedral in Barcelona and the protocols of Zaragoza allowed the identification and Dating (between 1474 and 1495) some of the surviving works by Bermejo. He is the author of four paintings, three of which signed, and the authenticity of the fourth supporting documents. Add to this the stained glass window in the baptistery of the Cathedral in Barcelona, a sketch of which was commissioned from the artist in 1495. In 1474-1477 he creates a composition "St. Domi-Nik" (Madrid, Prado), originating from the Daroca (Aragon) here is depicted the majestic, motionless, burning gold figure of the Saint. This panel represents the Central part of the altarpiece executed for the Church and completed in 1477. The artist here used a pyramidal composition and the frontal position of the figures; realism in the interpretation of the Holy face constrastive with the stillness and splendor of the throne and garments. Special attention is given to gold and silver items, embroidery and decorative allegorical subjects. "Pieta" from the Cathedral in Barcelona (1490) contains a Latin inscription: "Opus Bartholornei Vermeio Cor-dubensis impulsa de Lodovici Spla barcinonensis ar-chidiaconi absolutum XXIII aprilis anno salutis chris-tianae MCCCCLXXXX". In its drama, colour, expression and realism in the different figures praying this painting can be attributed to the Mature period of creativity Bermejo. The radiance and depth of the landscape is one of the greatest achievements of the artist in this genre, which was Spanish masters. Stained glass in the Cathedral in Barcelona was executed by drawing Bermejo kind Fontaneto in 1493-1495. In these years the artist creates drawings and nine other stained glass Windows, which were to decorate the dome of the same Cathedral (not preserved). The other two signature works by Bermejo dated: panel "SV. Michael" from Tusa (LUT Hu, Bedfordshire, collection Werner), signed "VAG-tolomeus Rubeus," and the song "Madonna Montera" of the Cathedral in Acqui, twilight landscape which is written in a naturalistic manner in the spirit of the pietà of the Cathedral in Barcelona. Among other works, the authorship of which researchers attributed to Bermejo, are the painting "Death of Mary" (Berlin-Dahlem, Museum); created, probably in Valencia "Pieta" (Barcelona, Mateu meeting); the altar of "Integracia" (Daroca, Aragon; the Central part of Boston, the Gardner Museum; museums of the sash, VDA-ROCA, Bilbao and San Diego, California); and four panels of the Catalan period, depicting scenes from the life of Christ (Barcelona, Museum of fine arts of Catalonia and Foundation Amatller).