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| Biagio Pupini after Michelangelo Figure-studies active 1511-1551 drawing Royal Collection, Great Britain |
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| Biagio Pupini after Raphael Judgment of Solomon active 1511-1551 drawing Metropolitan Museum of Art, New York |
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| Biagio Pupini after Raphael Transfiguration active 1511-1551 drawing Metropolitan Museum of Art, New York |
"The Raphaelesque dedication of the Bolognese was obviously in no way wrong in principle; what was to be deplored in it was the superficiality of their imitation and, worse still, the small talents they brought to it. Bartolommeo Ramenghi, called Bagnacavallo (1484-1542) was the most prominent among them. . . . Innocenzo Francucci da Imola (1490/4-1547-50) was . . . more fully informed about the modern classical style than Ramenghi, and could approximate its formulae more closely. . . . The third noticeable representative of this group, Biagio Pupini (dalle Lame, notices from 1511 to 1551) was still less able as a painter, and by the accident of the loss of most of his extensive production in Bologna is the least well known; our chief present information on him is as a draughtsman. He was also Francesco Francia's pupil, and on occasion a collaborator both of Ramenghi and of Girolamo da Carpi. His external Raphaelism is derived from Ferrarese as well as Bolognese examples, but the admixture in his hands is not to good effect. The production in Bologna of these Raphaelesques is a phenomenon which is only quantitatively important. Their imitations of Raphaelesque style reduced it to classicistic formula, but this could be simply grasped and then in turn re-imitated, so that painters in more provincial places could still follow, without pain, this admired fashion. At the critical geographical point for diffusion of artistic influence farther northward, the Bolognese Raphaelesques were the earliest agents in North Italy of a classicist propaganda. It was fortunate for North Italian art that they were soon supplanted in this role by less imitative but more authentic offshoots of the Raphaelesque style, Giulio Romano and Parmigianino."
– S.J. Freedberg from Painting in Italy - 1500 to 1600 in the Pelican History of Art series (London, 1971)
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| Biagio Pupini Allegorical Figure of Fortune or Vanitas standing on a Wheel above a Seated Female Figure active 1511-1551 drawing Morgan Library, New York |
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| Biagio Pupini Seated Female Figures (verso of sheet directly above) active 1511-1551 drawing Morgan Library, New York |
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| attributed to Biagio Pupini Grotesque Design with Unicorn active 1511-1551 drawing Princeton University Art Museum |
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| Biagio Pupini Fragment of Antique Triumph active 1511-1551 drawing Royal Collection, Great Britain |
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| Biagio Pupini Two Barbarian Prisoners with Triumphal Spoil behind ca. 1524 drawing- Museo del Prado, Madrid |
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| Biagio Pupini Frieze of Classical Figures active 1511-1551 drawing National Galleries of Scotland |
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| Biagio Pupini Neptune in his Chariot active 1511-1551 drawing National Galleries of Scotland |
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| Biagio Pupini Equestrian Battle Scene active 1511-1551 drawing National Galleries of Scotland |
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| Biagio Pupini Battle Scene active 1511-1551 drawing National Gallery of Art, Washington DC |
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| Biagio Pupini Groups of Classical Figures with Reclining Male Nude active 1511-1551 drawing Harvard Art Museums |
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| Biagio Pupini Kneeling Soldier before a Pope active 1511-1551 drawing Morgan Library, New York |
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| attributed to Biagio Pupini Frieze with Sibyl showing a Vision of the Virgin and Child to kneeling Augustus and other Romans active 1511-1551 drawing Royal Collection, Great Britain |
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| attributed to Biagio Pupini Draped Female Figure active 1511-1551 drawing Harvard Art Museums |