BASSANO, Jacopo
Italian High Renaissance Painter, ca.1510-1592 Jacopo Bassano (also known as Jacopo da Ponte, c. 1515 - 13 February 1592) was an Italian painter who was born and died in Bassano del Grappa near Venice, from which he adopted the name. His father Francesco Bassano the Elder was a "peasant artist" and Jacopo adopted some of his style as he created religious paintings with novel features including animals, farmhouses, and landscapes. He trained initially with his father, Francesco da Ponte the Elder, then in the studio of Bonifacio Veneziano. His mature style, however, followed the example of Titian. Having worked in Venice and other Italian towns, he established a workshop in Bassano with his four sons: Francesco the Younger (1549?C1592), Girolamo (1566?C1621), Giovanni Battista (1553?C1613), and Leandro (1557?C1622). They shared his style, and some works are difficult to attribute precisely.
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BASSANO, Jacopo Sheep and Lamb dghj oil painting


Sheep and Lamb dghj
c. 1560 Oil on canvas Galleria Borghese, Rome
Painting ID::  4969 		BASSANO, Jacopo
Sheep and Lamb dghj
c. 1560 Oil on canvas Galleria Borghese, Rome
   
   
     
BASSANO, Jacopo The Annunciation to the Shepherds oil painting


The Annunciation to the Shepherds
1533, oil on canvas, Belvoir Castle at Leicestershire, England
Painting ID::  18864 		BASSANO, Jacopo
The Annunciation to the Shepherds
1533, oil on canvas, Belvoir Castle at Leicestershire, England
   
   
     
BASSANO, Jacopo Le Christ descendu de la Croix oil painting


Le Christ descendu de la Croix
mk70 Toile H.1.54 L.2.25 Paris,musee du Louvre
Painting ID::  30991 		BASSANO, Jacopo
Le Christ descendu de la Croix
mk70 Toile H.1.54 L.2.25 Paris,musee du Louvre
   
   
     
BASSANO, Jacopo Supper at Emmaus oil painting


Supper at Emmaus
1538 Oil on canvas, 235 x 250 cm Sacristy, Parish Church, Cittadella Although undated, the painting is likely to go back to about 1538, a particularly felicitous period in Jacopo Bassano's art. Lorenzetti (1911) places it in the early part of the artist's stay in Bonifacio da Pitati's workshop and pointed out the obvious links with the latter's painting on the same theme, now to be seen in the Brera. There is a certain contrast between the solemn, hieratic figure of Christ and the rough and realistic close-up of the innkeeper on the one hand, and on the other, the little scene of the crouching dog being teased by the cat from a distance. The postures of the two disciples, the laboured perspective of the table, and some genre episodes were to recur in his later "Supper" version, now in the Borghese Gallery, Rome. The still-life in the centre of the work standing but against the linen tablecloth is a marvel of pictorial observation. A virtually lone harbinger of the main marks and elements of forthcoming Venetian painting (Tintoretto), Jacopo Bassano here sweeps the scene clear. In any case, light is the master here; it picks out the details and throws them into sharp outline. Artist: BASSANO, Jacopo Painting Title: Supper at Emmaus , 1551-1600 Painting Style: Italian , , religious
Painting ID::  63018 		BASSANO, Jacopo
Supper at Emmaus
1538 Oil on canvas, 235 x 250 cm Sacristy, Parish Church, Cittadella Although undated, the painting is likely to go back to about 1538, a particularly felicitous period in Jacopo Bassano's art. Lorenzetti (1911) places it in the early part of the artist's stay in Bonifacio da Pitati's workshop and pointed out the obvious links with the latter's painting on the same theme, now to be seen in the Brera. There is a certain contrast between the solemn, hieratic figure of Christ and the rough and realistic close-up of the innkeeper on the one hand, and on the other, the little scene of the crouching dog being teased by the cat from a distance. The postures of the two disciples, the laboured perspective of the table, and some genre episodes were to recur in his later "Supper" version, now in the Borghese Gallery, Rome. The still-life in the centre of the work standing but against the linen tablecloth is a marvel of pictorial observation. A virtually lone harbinger of the main marks and elements of forthcoming Venetian painting (Tintoretto), Jacopo Bassano here sweeps the scene clear. In any case, light is the master here; it picks out the details and throws them into sharp outline. Artist: BASSANO, Jacopo Painting Title: Supper at Emmaus , 1551-1600 Painting Style: Italian , , religious
   
   
     
BASSANO, Jacopo Adam and Eve in the Garden of Eden oil painting


Adam and Eve in the Garden of Eden
1544-45 Oil on canvas, 139,5 x 219 cm Royal Collection, Windsor The Adoration of the Shepherds is an imposing composition dating from around 1544-45 and the time of the artists early maturity. It was during this decade that Bassano painted a number of successful works on a large scale, which helped to establish him as a major artist of the Venetian school. The main compositional features of this painting are the treatment of the architecture, the Virgin's expression of concern for the Child, and the figure of the shepherd who acknowledges the Holy Family by removing his headgear. These features appear to be derived from a painting of the same subject by Titian, the original of which was painted for the Duke of Urbino in 1532-34 and may be the ruined panel in the Palazzo Pitti, Florence. Bassano clearly knew of Titian's painting, but almost certainly through the woodcut by the Master I.B. (Giovanni Boitto), which he seems to have made use of in the 1530s. The composition follows the same direction as the print, which reverses Titian's painting. It is notable that Bassano often redeployed figures in his paintings so that the figure of Joseph in the present work is found in reverse in the Rest on the Flight into Egypt and the kneeling shepherd in the foreground is used in reverse in the Adoration of the Magi. Apparently, from quite an early date, the artist kept a stock of drawings in his studio for this purpose. Apart from Titian, other influences have been cited in the context of Bassano's composition. The architectural features and the shepherd playing the bagpipes recall the woodcut of the Nativity in D?rer's Little Passion of 1511. On a general basis the naturalistic aspects of the composition are often compared with Netherlandish painting, particularly the work of artists such as Pieter Aertsen. Such observations perhaps over-emphasise the eclectic elements in Bassano's art when it is preferable to stress the scale of the work, the firm drawing, the warm colouring and the view of the artist's home town of Bassano del Grappa, seen in the background against the mountains. Iconographically, the broken elements of the classical architecture denote the passing of the Old Law in favour of the New Law symbolised by the Christ Child. Similarly, the tree prefigures the death of Christ on the cross. Artist: BASSANO, Jacopo Painting Title: Adoration of the Shepherds , 1551-1600 Painting Style: Italian , , religious
Painting ID::  63073 		BASSANO, Jacopo
Adam and Eve in the Garden of Eden
1544-45 Oil on canvas, 139,5 x 219 cm Royal Collection, Windsor The Adoration of the Shepherds is an imposing composition dating from around 1544-45 and the time of the artists early maturity. It was during this decade that Bassano painted a number of successful works on a large scale, which helped to establish him as a major artist of the Venetian school. The main compositional features of this painting are the treatment of the architecture, the Virgin's expression of concern for the Child, and the figure of the shepherd who acknowledges the Holy Family by removing his headgear. These features appear to be derived from a painting of the same subject by Titian, the original of which was painted for the Duke of Urbino in 1532-34 and may be the ruined panel in the Palazzo Pitti, Florence. Bassano clearly knew of Titian's painting, but almost certainly through the woodcut by the Master I.B. (Giovanni Boitto), which he seems to have made use of in the 1530s. The composition follows the same direction as the print, which reverses Titian's painting. It is notable that Bassano often redeployed figures in his paintings so that the figure of Joseph in the present work is found in reverse in the Rest on the Flight into Egypt and the kneeling shepherd in the foreground is used in reverse in the Adoration of the Magi. Apparently, from quite an early date, the artist kept a stock of drawings in his studio for this purpose. Apart from Titian, other influences have been cited in the context of Bassano's composition. The architectural features and the shepherd playing the bagpipes recall the woodcut of the Nativity in D?rer's Little Passion of 1511. On a general basis the naturalistic aspects of the composition are often compared with Netherlandish painting, particularly the work of artists such as Pieter Aertsen. Such observations perhaps over-emphasise the eclectic elements in Bassano's art when it is preferable to stress the scale of the work, the firm drawing, the warm colouring and the view of the artist's home town of Bassano del Grappa, seen in the background against the mountains. Iconographically, the broken elements of the classical architecture denote the passing of the Old Law in favour of the New Law symbolised by the Christ Child. Similarly, the tree prefigures the death of Christ on the cross. Artist: BASSANO, Jacopo Painting Title: Adoration of the Shepherds , 1551-1600 Painting Style: Italian , , religious
   
   
     
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     BASSANO, Jacopo
     Italian High Renaissance Painter, ca.1510-1592 Jacopo Bassano (also known as Jacopo da Ponte, c. 1515 - 13 February 1592) was an Italian painter who was born and died in Bassano del Grappa near Venice, from which he adopted the name. His father Francesco Bassano the Elder was a "peasant artist" and Jacopo adopted some of his style as he created religious paintings with novel features including animals, farmhouses, and landscapes. He trained initially with his father, Francesco da Ponte the Elder, then in the studio of Bonifacio Veneziano. His mature style, however, followed the example of Titian. Having worked in Venice and other Italian towns, he established a workshop in Bassano with his four sons: Francesco the Younger (1549?C1592), Girolamo (1566?C1621), Giovanni Battista (1553?C1613), and Leandro (1557?C1622). They shared his style, and some works are difficult to attribute precisely.

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