Strozzi was born in Genoa. He was probably not related to the Florentine Strozzi family.
In 1598, at the age of 17, he joined a Capuchin monastery, a reform branch of the Franciscan order. When his father died c. 1608, he left the order to care for his mother, earning their living with his paintings, which were often influenced by Franciscan teachings, for example his Adoration of the Shepherds (c. 1615). In 1625, he was charged with illegally practicing as a painter. When his mother died c. 1630, Bernardo was pressured in court by the Capuchins to re-enter the order. He was briefly imprisoned in Genoa, and upon release fled to Venice to avoid confinement in a monastery in 1631. He became nicknamed all his life as il prete Genovese (the Genoa priest).
Early paintings, such as The Ecstasy of St Francis show the dark emotionalism of Caravaggio. But by the second decade of the 17th century, while working in Venice, Strozzi had synthesized a personal style which fused painterly influences of the North (including Rubens and Veronese) with a monumental, realistic starkness. For example, in the painting The Incredulity of Thomas, the background is muted, yet Jesus' face, haloed and his outline, misty, in a style atypical of Caravaggio. Never as dark as the Caravaggisti, Venice infused his painting with a gentler edge, a style more acceptable to the local patronage, and one derived from his precursors in Venice, Jan Lys (died 1629) and Domenico Fetti (died 1626), who had also fused the influence of Caravaggio into Venetian art. Examples of this style can be found in his Parable of the Wedding Guests (1630),Christ's Charge to St. Peter (1630), Saint Lawrence distributing Alms at San Nicolò da Tolentino, and a Personification of Fame (1635-6). He was also likely influenced by Velázquez (who visited Genoa in 1629-30).
After a commission to paint Claudio Monteverdi his fame grew, and his portrait paintings included many of the leading Venetians. His pupils and other painters strongly influenced by him included Giovanni Andrea de Ferrari (1598–1669), Giovanni Bernardo Carbone, Valerio Castello, Giovanni Benedetto Castiglione, and Ermanno Stroifti.
- Adoration of Shepherds at the Walters Art Museum, Baltimore
- Loire, Stephane (1995). "Bernardo Strozzi". Burlington Magazine: pp.477–479.
- Ecstasy of St Francis at Philbrook Museum
- Incredulity of Saint Thomas at Compton Verney Museum
- Parable of the Wedding Guests at the National Gallery, Australia
- Christ's Charge to St. Peter at University Wisconsin Gallery
- St Lawrence distributing Alms
- Personification of Fame at National Gallery, London
- Della origine e delle vicende della pittura in Padova, by Giannantonio Moschini, Tipografia Crescini, Padua (1826), page 106 .
- Gavazza, E. et al., eds.,Bernardo Strozzi, Genova 1581/82-Venezia 1644 (exhibition catalogue, Palazzo Ducale, Genoa), Milan, 1995
- Spicer, J., ed., Bernardo Strozzi: Master Painter of the Italian Baroque (exhibition catalogue, Walters Art Museum, Baltimore), Baltimore 1995
- Pallucchini, A., La pittura veneziana del Seicento, Milan 1993
- Krawietz, C., "Bernardo Strozzi", in The Dictionary of Art (ed. by Jan Shoaf Turner), London, 1996
- Hansen, M.S. and J.Spicer, eds., Masterpieces of Italian Painting, The Walters Art Museum, London 2005, no. 43
- Camillo Manzitti, "Gioacchino Assereto: tangenze giovanili con Bernardo Strozzi e nuove testimonianze figurative", in "Paragone, n. 663, Maggio 2005.
- WGA entry
- Wittkower, Rudolf (1993). "14". Pelican History of Art, Art and Architecture Italy, 1600-1750. 1980. Penguin Books Ltd. pp. 351–2.
- Media related to Bernardo Strozzi at Wikimedia Commons