Paris Bordone
Italian 1500-1571 Italian painter and draughtsman. He is best known for his strikingly beautiful depictions of women, both in portraits and in cabinet paintings. He also excelled in rendering monumental architectural settings for narrative, both religious and secular, possibly initiating a genre that would find great currency during the mid-16th century, especially in Venice, France and the Netherlands. His favoured media were oil and fresco, the latter being used on both interiors and faades. Although he was not generally sought after by Venetian patrons during his career, as his art was eclipsed by that of Titian, Paolo Veronese and Jacopo Tintoretto, Bordone was regarded in the mid-16th century as an accomplished artist (Pino; Sansovino). He worked for the moneyed lite of northern Italy and Bavaria, for the royalty of France and Poland, and had works commissioned to be sent to Spain and to Flanders. Despite knowledge of the important patrons for whom he worked, the chronology of Bordones oeuvre is by no means clear. Dating on stylistic grounds is confounded by the diverse sources on which he drew, ranging from the Emilian, Lombard and Venetian to the French and northern European, depending on the patron. Due to the ease with which prints circulated during Bordones career, it is difficult to ascertain whether influences were derived at first hand or from printed images. Such difficulties in assigning dates are further exacerbated by his use of the same figure study for numerous paintings evidently executed decades apart. Reliance on the testimony of Vasari, who interviewed Bordone in 1566, in conjunction with the extant documents, the few signed and dated paintings and, to a lesser extent, period fashion provides only a rough outline of his activity. Due to the lack of agreement among scholars regarding chronology, the following account is based mainly on the documentary evidence.
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Paris Bordone Daphnis and Chloe oil painting


Daphnis and Chloe
mk170 1538-1540 Oil on canvas 135.9x120.6cm
Painting ID::  43059 		Paris Bordone
Daphnis and Chloe
mk170 1538-1540 Oil on canvas 135.9x120.6cm
   
   
     
Paris Bordone Allegory with Lovers oil painting


Allegory with Lovers
1550 Oil on canvas, 111,5 x 174,5 cm
Painting ID::  51188 		Paris Bordone
Allegory with Lovers
1550 Oil on canvas, 111,5 x 174,5 cm
   
   
     
Paris Bordone The Annunciation oil painting


The Annunciation
1555(1555) Medium Oil on canvas Dimensions Height: 99 cm (39 in). Width: 134 cm (52.8 in). cyf
Painting ID::  83383 		Paris Bordone
The Annunciation
1555(1555) Medium Oil on canvas Dimensions Height: 99 cm (39 in). Width: 134 cm (52.8 in). cyf
   
   
     
Paris Bordone Madonna and Child with Saints oil painting


Madonna and Child with Saints
1535(1535) Medium Oil on poplar cyf
Painting ID::  87007 		Paris Bordone
Madonna and Child with Saints
1535(1535) Medium Oil on poplar cyf
   
   
     
Paris Bordone Athena Scorning the Advances of Hephaestus oil painting


Athena Scorning the Advances of Hephaestus
Oil on canvas (61.78) (Kress Study Collection, K 1112) Date ca. 1555-1560 cyf
Painting ID::  90453 		Paris Bordone
Athena Scorning the Advances of Hephaestus
Oil on canvas (61.78) (Kress Study Collection, K 1112) Date ca. 1555-1560 cyf
   
   
     
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     Paris Bordone
     Italian 1500-1571 Italian painter and draughtsman. He is best known for his strikingly beautiful depictions of women, both in portraits and in cabinet paintings. He also excelled in rendering monumental architectural settings for narrative, both religious and secular, possibly initiating a genre that would find great currency during the mid-16th century, especially in Venice, France and the Netherlands. His favoured media were oil and fresco, the latter being used on both interiors and faades. Although he was not generally sought after by Venetian patrons during his career, as his art was eclipsed by that of Titian, Paolo Veronese and Jacopo Tintoretto, Bordone was regarded in the mid-16th century as an accomplished artist (Pino; Sansovino). He worked for the moneyed lite of northern Italy and Bavaria, for the royalty of France and Poland, and had works commissioned to be sent to Spain and to Flanders. Despite knowledge of the important patrons for whom he worked, the chronology of Bordones oeuvre is by no means clear. Dating on stylistic grounds is confounded by the diverse sources on which he drew, ranging from the Emilian, Lombard and Venetian to the French and northern European, depending on the patron. Due to the ease with which prints circulated during Bordones career, it is difficult to ascertain whether influences were derived at first hand or from printed images. Such difficulties in assigning dates are further exacerbated by his use of the same figure study for numerous paintings evidently executed decades apart. Reliance on the testimony of Vasari, who interviewed Bordone in 1566, in conjunction with the extant documents, the few signed and dated paintings and, to a lesser extent, period fashion provides only a rough outline of his activity. Due to the lack of agreement among scholars regarding chronology, the following account is based mainly on the documentary evidence.

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