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| Francesco Ubertini (il Bacchiacca) Sibyl ca. 1530-40 oil on panel Kunsthistorisches Museum, Vienna |
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| Francesco Ubertini (il Bacchiacca) Portrait of a Woman and Child (Allegory of Liberality) ca. 1525-35 oil on panel Fisher Museum of Art University of Southern California, Los Angeles |
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| Francesco Ubertini (il Bacchiacca) Courtier in a Red Fur Hat ca. 1550 oil on panel Fondation Bemberg, Toulouse |
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| Francesco Ubertini (il Bacchiacca) Virgin and Child with St John the Baptist ca. 1525 oil on panel Dallas Museum of Art, Texas |
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| Francesco Ubertini (il Bacchiacca) Portrait of a Lady with a Book of Music ca. 1540-45 oil on panel Getty Museum, Los Angeles |
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| Francesco Ubertini (il Bacchiacca) St Sebastian with St Romuald and St Vincent Ferrer before 1557 oil on panel Pieve di San Lorenzo, Borgo San Lorenzo |
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| Francesco Ubertini (il Bacchiacca) Beheading of St John the Baptist ca. 1540-50 oil on panel Gemäldegalerie, Berlin |
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| Francesco Ubertini (il Bacchiacca) Agony in the Garden ca. 1545 oil on panel York City Art Gallery |
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| Francesco Ubertini (il Bacchiacca) St Sebastian ca. 1540 oil on panel (triptych fragment) Birmingham Museum of Art, Alabama |
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| Francesco Ubertini (il Bacchiacca) Joseph pardons his Brothers (detail) ca. 1515 oil on panel National Gallery, London |
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| Francesco Ubertini (il Bacchiacca) Baptism of Christ ca. 1523 oil on panel Gemäldegalerie, Berlin |
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| Francesco Ubertini (il Bacchiacca) Baptism of Christ (detail) ca. 1523 oil on panel Gemäldegalerie, Berlin |
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| Francesco Ubertini (il Bacchiacca) Baptism of Christ (detail) ca. 1523 oil on panel Gemäldegalerie, Berlin |
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| Francesco Ubertini (il Bacchiacca) Baptism of Christ (detail) ca. 1523 oil on panel Gemäldegalerie, Berlin |
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| Francesco Ubertini (il Bacchiacca) Moses striking the Rock ca. 1525 oil on panel Scottish National Gallery, Edinburgh |
"There is another variety of artistic production in Florence and its neighbourhood in the years that accompany the decline of classicism and the rise of Mannerist style. This production lies on the borderline between art and artisanship, and it would be incorrect to deal with it as if it offered a problem that was relevant to the large issue of the development of historical styles, such as classicism and Mannerism are. Style is a property of these works only in the limited sense of the stamp given them by their – the word is stretched here – creating personality. Often, indeed, the processes by which these works come into being are hardly purposeful enough to achieve style even of this kind. They are given individuality less by any shaping force of will than by the marks that betray ineptitude – of mind, eye, or hand – and which, measured by the standards of a higher contemporary art, acquire the effect of eccentricities – sometimes interesting, sometimes merely ugly."
"The art of Francesco Ubertini, il Bacchiacca, was more than that of these quasi-artisans, yet its kind of relation to the historical styles is akin to theirs. His initial status was that of a craftsman-painter, and his temperament and talents were never quite to be detached from his beginnings. Vasari always makes his awareness of this character of artigianato in Bacchiacca evident, and it appears even in his most developed art. Bacchiacca emerged in the late years of the second decade as a painter of small panels trained in the archaic classical style of Perugino, but with an inclination towards piquant and unclassical aberrations in both form and colour. By 1523 . . . he had been enough exposed to Rosso and Pontormo to take stimulus from them for his own eccentricity, and he invented a manner in which forms and feeling are made pointed, brittle, and disarticulate. The means by which he arrived at this mode are only partly like those of his Mannerist contemporaries. Bacchiacca's effects, fanciful and disjunctive, rather recollect those that can be found in the cassone panels of the later Quattrocento. His devices are unintellectual and in part naїve, and they are small, as befits the scale in which it was his chosen specialty to work. This is a highly personal manner, but there is almost nothing in it that resembles Pontormo's or Rosso's profound reforming of a whole aesthetic order. Nevertheless, the generic climate of Bacchiacca's art is, in naїve terms, like that of Mannerism."
– S.J. Freedberg, Painting in Italy 1500-1600 in the Pelican History of Art series (1970)