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| Bernardino Poccetti Miracle of the Madonna della Neve (detail) 1589-90 fresco Chiesa di Santa Felicita, Florence |
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| Bernardino Poccetti Miracle of the Madonna della Neve 1589-90 fresco Chiesa di Santa Felicita, Florence |
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| Bernardino Poccetti Miracle of the Madonna della Neve (detail) 1589-90 fresco Chiesa di Santa Felicita, Florence |
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| Bernardino Poccetti Ignudi 1612 arcade fresco Ospedale degli Innocenti, Florence |
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| Bernardino Poccetti Ignudi 1612 arcade fresco Ospedale degli Innocenti, Florence |
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| Bernardino Poccetti Ignudi 1612 arcade fresco Ospedale degli Innocenti, Florence |
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| Bernardino Poccetti Ignudi 1612 arcade fresco Ospedale degli Innocenti, Florence |
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| Bernardino Poccetti Ignudi surrounding Medici Escutcheon 1612 arcade fresco Ospedale degli Innocenti, Florence |
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| Bernardino Poccetti Escutcheon 1592 fresco Certosa di Firenze |
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| Bernardino Poccetti Funeral and Assumption of St Bruno 1592 fresco Certosa di Firenze |
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| Bernardino Poccetti Glory of the Holy Spirit ca. 1600 apse fresco Basilica della Santissima Annunziata, Florence |
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| Bernardino Poccetti Glory of the Holy Spirit (detail) ca. 1600 apse fresco Basilica della Santissima Annunziata, Florence |
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| Bernardino Poccetti Glory of the Holy Spirit (detail) ca. 1600 apse fresco Basilica della Santissima Annunziata, Florence |
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| Bernardino Poccetti Glory of the Holy Spirit (detail) ca. 1600 apse fresco Basilica della Santissima Annunziata, Florence |
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| Bernardino Poccetti Christ nourished by Angels (detail) 1611 fresco Badia Fiesolana |
"At a time when Florentine painting was moving away from Mannerism towards a more naturalistic style, Bernardino Poccetti patiently worked his way up to become an eminent decorative fresco painter. The young Poccetti painted grotesques, then facades, and later expertly designed his frescoes to integrate painting, sculpture, and architecture. Warm, vivid pastel colors characterize his frescoes, while his few paintings on canvas show strong contrasts of light and dark. Poccetti produced realistic, legible compositions with stylized figures, which were favored by private patrons. Church and corporate patrons, including the monks of Florence and Siena, found his dramatic and easily comprehensible narratives suitable to their aims of promoting piety and the Florentine saints."
– from curator's notes at the Getty Museum, Los Angeles