Bartolomeo Montagna
Orzinuovi ca 1450-Vicenza 1523 .Painter and draughtsman. Montagna is first documented in 1459 in Vicenza as a minor and, still a minor, in 1467. In 1469 he is recorded as a resident of Venice. In 1474 he was living in Vicenza where, in 1476 and 1478, he was commissioned to paint altarpieces (now lost). He has variously been considered a pupil of Andrea Mantegna (Vasari), Giovanni Bellini, Antonello da Messina, Alvise Vivarini, Domenico Morone and Vittore Carpaccio. While none of these artists, except Carpaccio, was irrelevant to Montagna's stylistic formation, scholars agree that Giovanni Bellini was the primary influence on his art. He may have worked in Bellini's shop around 1470. Several of Montagna's paintings of the Virgin and Child in which the influence of Antonello da Messina is especially marked (e.g. two in Belluno, Mus. Civ.; London, N.G., see Davies, no. 802) are likely to be close in date to Antonello's sojourn in Venice (1475-6); they are therefore best considered Montagna's earliest extant works (Gilbert, 1967) rather than as an unexplained parenthesis around 1485 between two Bellinesque phases (Puppi, 1962). These early paintings appear to be followed by others in which the geometrically rounded forms derived from Antonello become more slender and sharper-edged. Their figures are imbued with a deeply felt, individual humanity, sometimes austere and minatory, sometimes tender. Among them are some larger-scale works,
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Bartolomeo Montagna Ecce Homo (mk05) oil painting


Ecce Homo (mk05)
Wood 21 1/2 x 17''(55 x 43 cm)Entered the Louvre in 1863
Painting ID::  20080 		Bartolomeo Montagna
Ecce Homo (mk05)
Wood 21 1/2 x 17''(55 x 43 cm)Entered the Louvre in 1863
   
   
     
Bartolomeo Montagna The Virgin and Child oil painting


The Virgin and Child
mk170 1485-1490 Tempera with oil on wood 64.8x54.6cm
Painting ID::  42912 		Bartolomeo Montagna
The Virgin and Child
mk170 1485-1490 Tempera with oil on wood 64.8x54.6cm
   
   
     
Bartolomeo Montagna Madonna and Child Enthroned with Saints oil painting


Madonna and Child Enthroned with Saints
Oil on canvas, 410 x 260 cm Pinacoteca di Brera, Milan Date 1498(1498) cjr
Painting ID::  91758 		Bartolomeo Montagna
Madonna and Child Enthroned with Saints
Oil on canvas, 410 x 260 cm Pinacoteca di Brera, Milan Date 1498(1498) cjr
   
   
     
Bartolomeo Montagna Madonna and Child under a Pergola with St John the Baptist and St Onofrius oil painting


Madonna and Child under a Pergola with St John the Baptist and St Onofrius
between 1488(1488) and 1489(1489) Medium Oil on canvas transferred from wood Dimensions Height: 196 cm (77.2 in). Width: 160 cm (63 in). cjr
Painting ID::  93671 		Bartolomeo Montagna
Madonna and Child under a Pergola with St John the Baptist and St Onofrius
between 1488(1488) and 1489(1489) Medium Oil on canvas transferred from wood Dimensions Height: 196 cm (77.2 in). Width: 160 cm (63 in). cjr
   
   
     
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     Bartolomeo Montagna
     Orzinuovi ca 1450-Vicenza 1523 .Painter and draughtsman. Montagna is first documented in 1459 in Vicenza as a minor and, still a minor, in 1467. In 1469 he is recorded as a resident of Venice. In 1474 he was living in Vicenza where, in 1476 and 1478, he was commissioned to paint altarpieces (now lost). He has variously been considered a pupil of Andrea Mantegna (Vasari), Giovanni Bellini, Antonello da Messina, Alvise Vivarini, Domenico Morone and Vittore Carpaccio. While none of these artists, except Carpaccio, was irrelevant to Montagna's stylistic formation, scholars agree that Giovanni Bellini was the primary influence on his art. He may have worked in Bellini's shop around 1470. Several of Montagna's paintings of the Virgin and Child in which the influence of Antonello da Messina is especially marked (e.g. two in Belluno, Mus. Civ.; London, N.G., see Davies, no. 802) are likely to be close in date to Antonello's sojourn in Venice (1475-6); they are therefore best considered Montagna's earliest extant works (Gilbert, 1967) rather than as an unexplained parenthesis around 1485 between two Bellinesque phases (Puppi, 1962). These early paintings appear to be followed by others in which the geometrically rounded forms derived from Antonello become more slender and sharper-edged. Their figures are imbued with a deeply felt, individual humanity, sometimes austere and minatory, sometimes tender. Among them are some larger-scale works,

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