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BARTOLOMEO VENETO
 
BARTOLOMEO VENETO san giovanni battita oil


    san giovanni battita
   new20/BARTOLOMEO VENETO-435845.jpg
  ID de tableau::  58337
  mk261 years 1510 -1520 Venice oil painting on canvas 65.5 x 40 cm Florence.
   
 
 
 
 
   

BARTOLOMEO VENETO Woman Playing a Lute oil


    Woman Playing a Lute
   new21/BARTOLOMEO VENETO-392638.jpg
  ID de tableau::  63540
  1520 Oil on panel, 65 x 50 cm Pinacoteca di Brera, Milan The date appears on the paper below the lute: 1520. A replica, perhaps by the artist himself, is in the Gardner Museum, Boston. The woman is represented in the guise of St Cecilia, a typical example of sixteenth-century "court art." In fact the artist worked for three years at Ferrara for Lucrezia Borgia. Bartolomeo's formation derives from Cima da Conegliano and the later work of Bellini, with influences from Leonardo, Costa and northern European art. His signature on a painting that was formerly in the Dona delle Rose collection in Venice shows how aware he was of his mixed development: "Bartolamio half Venetian and half Cremonese." He liked to paint half-figures of women, and chose subjects with strong personalities.Artist:BARTOLOMEO VENETO Title: Woman Playing a Lute Painted in 1501-1550 , Italian - - painting : genre
   
 
 
 
 
   

BARTOLOMEO VENETO Portrait of a Gentleman oil


    Portrait of a Gentleman
   new21/BARTOLOMEO VENETO-842672.jpg
  ID de tableau::  63841
  1512 Oil on panel, 73 x 58 cm Galleria Nazionale d'Arte Antica, Rome Earlier this picture was described as a work of Leonardo. Later, the panel was attributed to Holbein. Finally, of exceptionally high quality, the painting was given to Bartolomeo Veneto by comparing it to two other portraits by the same painter, now at Houston and Washington. The proposed dating is the second decade of the sixteenth century (perhaps 1512), in the wake of Bartolomeo's sojourn in Ferrara between 1506 and 1508. Bartolomeo Veneto (Bartolommeo Veneziano) attracted attention at the end of the 19th century. He was a pupil of Gentile Bellini, he worked at the Court of the Grand Duke of Ferrara and elsewhere. There he came under the influence of LOmbard artists. The artist enriched his original Venetian pictorial language with direct exposure to the influence of Albrecht D?rer, who had been active in Venice in the first years of the sixteenth century. The figures of the knight and the soldier, visible in the background, are literally copied from a 1496 woodcut by D?rer. The identity of the sitter, however, remains a mystery. We do know, however, that he must have been a gentleman attached to the Mantuan court of the Gonzagas. Recently, it was suggested that Bartolomeo Veneto may have been the talented portraitist working in Raphael's workshop who was responsible for the faces of the chair-bearers in the Vatican Palace's Mass of Bolsena. Several inscriptions are legible in the painting: on the medal of the sitter's beret is written "Probasti e Chognovisti"; on the placard above the animal on the medal are the Greek letters epsilon and tau; and along the edge of the plaquette that decorates the sword handle, "IN(?) B:VF" and "NO SPI(E)".Artist:BARTOLOMEO VENETO Title: Portrait of a Gentleman Painted in 1501-1550 , Italian - - painting : portrait
   
 
 
 
 
   

BARTOLOMEO VENETO John the Baptist oil


    John the Baptist
   new24/BARTOLOMEO VENETO-749663.jpg
  ID de tableau::  73294
  John the Baptist cjr
   
 
 
 
 
   

BARTOLOMEO VENETO John the Baptist oil


    John the Baptist
   new24/BARTOLOMEO VENETO-733775.jpg
  ID de tableau::  75024
  John the Baptist Date 16th century cyf
   
 
 
 
 
   

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