Opdateret oktober 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 86 værker af Leandro Bassano i vores katalog
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Portrait of the Merchant Leonhard Hermann (1595) er det maleri af Leandro Bassano, der vækker mest opsigt; originalen findes på Bavarian State Painting Collections, München. Derefter falder blikket på Magistrate with Crucifix (1600) og Departure of Abraham into the Promised Land (1595). Blandt de 86 værker af Leandro Bassano i vores katalog er disse 85 de mest berømte, hver især et unikt originalværk præsenteret med sit årstal, sit museum og årsagen til dets tidløse betydning.
A single quill pen rests against a cream-colored sheet, its tip poised as if waiting for the next command of commerce. Leonhard Hermann sits in the quiet gravity of his own success, a man defined by the documents spread before him. The light falls from the upper left, a sharp beam that carves his features out of the surrounding gloom. It catches the stark white of his ruff collar and…
A man sits in the heavy silence of a dark room. He is a magistrate, his presence defined by the weight of his black garment and the soft, white fur that trims his chest. His face is pale, caught in a sharp light that carves his features from the surrounding gloom. In his right hand, he holds a small book, the pages perhaps recently turned. To his left, a crucifix…
The painting titled Departure of Abraham into the Promised Land is a work by the artist Leandro Bassano, also identified as Leandro da Ponte gen. Leandro Bassano. This piece originates from the Italian and Venetian cultural traditions. It was executed about 1595.
The oil on canvas titled March is a work by the Venetian painter Leandro Bassano. Born in 1557, the artist lived until 1622, capturing the rhythms of life through his brush. This specific painting belongs to his larger series known as the Twelve Months.
A single light source strikes from the upper left, carving the face of Battista Gardalino out of a heavy, ink-dark void. The man sits in a three-quarter pose, his presence anchored by the gravity of his own skin. Every line on his weathered face tells a story of years passed, etched deeply into the pale surface of his cheeks and forehead. He holds a pair of gloves, a quiet gesture…
Leandro Bassano captures a moment of divine friction in Christ Drives the Merchants from the Temple. Painted about 1593, the work focuses on the biblical scene of Christ cleansing the Temple. It is a collision of sacred purpose and worldly commerce. The air in the composition feels heavy with the sudden disruption of the sanctuary.
The room is quiet, held in a heavy, contemplative stillness. Tiziano Aspetti sits before us, his gaze steady and direct, meeting the viewer with a quiet, scholarly intensity. He is a man of substance, draped in a dark doublet that absorbs the light, contrasted sharply by the crisp white of his collar and the patterned grey of his sleeves. A well-groomed beard and mustache frame a face etched with the…
A three-quarter length view of a middle-aged man seated in a wooden chair defines the central composition of this oil portrait. The subject is positioned slightly off-center, creating a sense of depth against a dark, atmospheric background. He wears a white habit, the fabric of which appears as a luminous, stark contrast to the surrounding tones. The folds of the linen are rendered with soft, defined lines that suggest a…
In this oil on canvas from 1597, we find ourselves drawn into a quiet, industrious corner of the Venetian countryside. The scene is one of rhythmic, daily toil, captured under a heavy, overcast sky that lends a certain weight to the atmosphere. In the foreground, the focus rests upon the tactile reality of domestic production. Two women are deeply engaged in their craft; one sits near a wooden spinning mechanism,…
The Crowning with Thorns is an oil painting by Leandro Bassano. Created around 1590, the work captures a heavy, singular moment of biblical history. It depicts the Crowning with Thorns, a scene of profound suffering and ritualized cruelty. The subject remains fixed in a state of tension, caught between the movement of the tormentors and the stillness of the central figure.
Lazarus and Dives1570 · Museo del Prado
12
Burial of Christ1579 · Kunsthistorisches Museum
13
Summer (July)1597 · Kunsthistorisches Museum
14
August1597 · Kunsthistorisches Museum
15
June1597 · Kunsthistorisches Museum
16
Portrait of the Dogaressa Morosina Morosini1595 · Staatliche Kunstsammlungen Dresden
17
November1597 · Kunsthistorisches Museum
18
May1597 · Kunsthistorisches Museum
19
The Feast of Anthony and Cleopatra1600 · Nationalmuseum
20
Parable of the Rich Man and the Poor Lazarus1592 · Kunsthistorisches Museum
21
The Moneychanger Orazio Lago, His Wife and a Client1600 · Kunsthistorisches Museum
22
Portrait of a Venetian Magistrate1580 · Kunsthistorisches Museum
23
February1597 · Kunsthistorisches Museum
24
April1590 · Kunsthistorisches Museum
25
Portrait of the Pisan Giovanni Magnani1582 · Bavarian State Painting Collections
26
The Hebrews Gathering Water Gushing from the Rock1578 · Musée de Grenoble
27
The Adoration of the Magi1574 · Musée d'art et d'histoire de Narbonne
28
Christ with Mary and Martha1589 · Bavarian State Painting Collections
29
The Month of July1589 · Bavarian State Painting Collections
30
The Holy Family1589 · Bavarian State Painting Collections
31
Adoration of the Shepherds1593 · Rhode Island School of Design Museum of Art
32
The Dead Christ with Angels1580 · Cleveland Museum of Art
33
Mises Striking the Rock1589 · Bavarian State Painting Collections
34
Seasonal allegory with Adam and Eve1580 · Auckland Art Gallery Toi o Tāmaki
35
Christ Appearing to a Nobleman1580 · Harvard Art Museums
36
Fairground1595 · Kunsthistorisches Museum
37
Portrait of a Luteplayer1600
38
Jesus chasing the merchants from the Temple1600 · Palais des Beaux-Arts de Lille
39
Portrait of a Boy with his Tutor1600 · Royal Collection
40
Annunciation to the Shepherds1597 · Statens Museum for Kunst
41
The Wedding at Cana1600
42
Portrait of a Woman, probably Morosina Morosini, Wife of Marino Grimani, the Doge of Venice1595 · Rijksmuseum
43
Saint Francis1590 · Kunsthistorisches Museum
44
January1590 · Kunsthistorisches Museum
45
Doge Marcantonio Memmo (1536–1615)1615 · English Heritage
46
Portrait of a Premonstratensian1605 · Kunsthistorisches Museum
47
Saint Clara1590 · Kunsthistorisches Museum
48
LES NOCES DE CANALouvre
49
Portrait of Jacopo Bassano1601 · Museo del Prado
50
Donor PortraitKunsthistorisches Museum
51
The Last Supper1578 · Santa Maria Formosa
52
Penelope1575 · Musée Des Beaux
53
Man with a Knife1580 · John and Mable Ringling Museum of Art
54
The Return of the Prodigal Son1588 · Bristol Museum - Art Gallery
55
Embarkation of the Doge of Venice1595 · Museo del Prado
56
Portrait of a Bearded Man1600 · National Gallery
57
The Tower of Babel1600
58
Portrait of the Doge Marcantonio Memmo (1537-1615, Doge since 1612)Städel Museum
59
Doge Marcantonio Memmo1612
60
Banquet Scene1595
61
St Anne and the Infant St MaryNationalmuseum
62
Portrait of a ManNationalmuseum
63
The Month of JulyBavarian State Painting Collections
64
Portrait of a Young ManGemäldegalerie
65
Portrait of a ManJohn and Mable Ringling Museum of Art
66
The Visit of the Queen of Sheba to SolomonNational Gallery of Ireland
67
Susanna and the EldersBavarian State Painting Collections
68
Portrait of a ManIndianapolis Kunstmuseum
69
St. ChristopherWalters Art Museum
70
Doge Marino Grimani
71
Orpheus Charming The Animals
72
PENELOPE
73
JESUS CHASSANT LES MARCHANDS DU TEMPLE
74
Little Girl Carrying a Basket1594 · Louvre
75
Portrait of a Widow at her Devotions
76
Portrait of a Bearded ManBavarian State Painting Collections
77
Honorius III Approving the Rule of St Dominic in 1216Basilica dei Santi Giovanni e Paolo
78
Portrait of an Old ManSzépművészeti Múzeum
79
The Tower of BabelNational Gallery
80
St Giacinto Walking on the Water of the River DnieperBasilica dei Santi Giovanni e Paolo
81
Last JudgmentBirmingham Museum of Art
82
The Birth of the Virgin
83
Moses Striking the RockLouvre
84
Allegory of the Element Earth1580 · Walters Art Museum
85
Madonna del Rosario with Dead Christ, Angels and Rulers1595
De fire motiver, der optræder hyppigst i disse originaler, hver med sit fineste eksempel.
De 8 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Leandro Bassano | Malerier fra denne liste |
|---|---|---|---|
 Kunsthistorisches Museum |
Wien | 22 | Departure of Abraham into the Promised Land, March, Christ Drives the Merchants from the Temple |
 Bavarian State Painting Collections |
München | 9 | Portrait of the Merchant Leonhard Hermann, Portrait of the Pisan Giovanni Magnani, Christ with Mary and Martha |
 Museo del Prado |
Madrid | 5 | Magistrate with Crucifix, The Crowning with Thorns, Lazarus and Dives |
 Nationalmuseum |
Stockholm | 3 | The Feast of Anthony and Cleopatra, St Anne and the Infant St Mary, Portrait of a Man |
 Louvre |
Paris | 3 | LES NOCES DE CANA, Little Girl Carrying a Basket, Moses Striking the Rock |
 Palais des Beaux-Arts de Lille |
Lille | 2 | Portrait of Battista Gardalino, Jesus chasing the merchants from the Temple |
 John and Mable Ringling Museum of Art |
Sarasota | 2 | Man with a Knife, Portrait of a Man |
 National Gallery |
London | 2 | Portrait of a Bearded Man, The Tower of Babel |
Vælg et årti for at se det originale værk, der definerer det.
The oil on canvas painting titled Lazarus and Dives was executed by the artist Leandro Bassano. This work dates to about 1570 AD. The medium consists of oil pigments applied to a canvas surface, a technique used to render the varied textures of the scene.
An elderly man sits before us, his gaze fixed directly upon the viewer with a quiet, steady intensity. He is a figure of gravity, likely a Venetian magistrate, caught in a moment of profound introspection. The light enters from the upper left, carving his features out of the surrounding darkness through a dramatic chiaroscuro technique. This single source of illumination catches the edge of his forehead and the bridge of…
A single quill pen rests against a cream-colored sheet, its tip poised as if waiting for the next command of commerce. Leonhard Hermann sits in the quiet gravity of his own success, a man defined by the documents spread before him. The light falls from the upper left, a sharp beam that carves his features out of the surrounding gloom. It catches the stark white of his ruff collar and…
A man sits in the heavy silence of a dark room. He is a magistrate, his presence defined by the weight of his black garment and the soft, white fur that trims his chest. His face is pale, caught in a sharp light that carves his features from the surrounding gloom. In his right hand, he holds a small book, the pages perhaps recently turned. To his left, a crucifix…
A heavy silence settles over the room as we gaze upon Doge Marcantonio Memmo. He sits motionless upon a throne, his figure anchored by the weight of authority and the deep crimson drapery that surrounds him. A long, white beard flows from his face, catching the light, while his gold robe gleams with a quiet, regal luster. In one hand, he holds a scepter, a symbol of the power he…
Portrait of the Merchant Leonhard Hermann (1595), Bavarian State Painting Collections, München. Derefter følger Magistrate with Crucifix (1600) og Departure of Abraham into the Promised Land (1595).
38 år gammel: Portrait of the Merchant Leonhard Hermann er fra 1595, og Leandro Bassano blev født i 1557.
Portrait of the Merchant Leonhard Hermann, Magistrate with Crucifix, Departure of Abraham into the Promised Land, March, Portrait of Battista Gardalino, Christ Drives the Merchants from the Temple, Portrait of Tiziano Aspetti holding a statuette, Portrait of a Premonstratensian, Spinning and Weaving (July) og The Crowning with Thorns. Ranglisten ovenfor viser det enkelte værks årstal og museum.
Vores katalog indeholder 86 værker af Leandro Bassano, dateret fra 1570 til 1615.
Primært i Kunsthistorisches Museum (Wien), Bavarian State Painting Collections (München) og Museo del Prado (Madrid). Museumslisten ovenfor viser dem alle.
I 1590s: 27 af de 85 værker på denne side blev skabt dengang, herunder Portrait of the Merchant Leonhard Hermann.
På denne side er det tidligste Lazarus and Dives (1570) og det seneste Doge Marcantonio Memmo (1536–1615) (1615).
People (21), Man (18) og Animals (13), fordelt på de 85 værker på denne side.
Oil On Canvas, for 40 af de 85 værker på denne side.
Renaissance og Mannerism, baseret på originalerne på denne side.
Departure of Abraham into the Promised Land, March og Christ Drives the Merchants from the Temple: Kunsthistorisches Museum, Wien har 22 af værkerne på denne side.
Jacopo Carucci, bedre kendt som Jacopo Pontormo, forbliver en skikkelse af dyb og ofte foruroligende fascination i kunsthistorien. Han blev født i 1494 i den lille toscanske by Pontorme nær Empoli, og han var ikke skæbnebestemt til en konventionel kunstnerisk opvækst. Som forældreløs fra en tidlig alder blev han sendt mellem forskellige florentinske værksteder – først hos Leonardo da Vinci, siden hos Mariotto Albertinelli og Piero di Cosimo, før han endelig fandt et hjem hos Andrea del Sarto. Hans tidlige uddannelse var præget af højrenæssancens strenge disciplin. Men på trods af at have absorberet principperne om perspektiv, anatomi og klassisk komposition fra disse ærede mestre, banede Pontormo i sidste ende sin helt egen vej. Han blev en central skikkelse i overgangen til manierismen og udøvede en gennemgribende indflydelse på kommende generationer af kunstnere.
Hans tidlige værker, såsom Bebudelsen til Jomfru Maria og Skt. Elisabeth (ca. 1514-1516), vidner om en tydelig gæld til hans forgængere. Figurerne er balancerede, harmoniske og minutiøst gengivet i en nøje konstrueret arkitektonisk ramme – selve kendetegnene ved renæssancens maleri. Dog begynder subtile antydninger af Pontormos særprægede stil at spire allerede i disse tidlige værker: forlængede former, en intensiveret følelsesmæssig nerve og en urovækkende tvetydighed, der varsler de radikale brud, han senere ville omfavne.
Pontormos kunstneriske evolution var uløseligt forbundet med hans rejser og møder med nordeuropæisk kunst. Inspireret af kobberstik og træsnit fra kunstnere som Albrecht Dürer og Lucas van Leyden, der cirkulerede vidt i Italien på det tidspunkt, begyndte han at eksperimentere med en løsere og mere ekspressiv tilgang til komposition og form. Denne indflydelse er særligt tydelig i hans senere værker, hvor figurerne synes at svæve i et ubestemmeligt rum, løsrevet fra tyngdekraftens og perspektivets begrænsninger. De hvirvlende, serpentinske linjer, der karakteriserer hans stil, skaber en følelse af dynamik og bevægelse, som står i skarp kontrast til renæssancekunstens statiske stabilitet.
Afgørende var det, at Pontormo forkastede den strenge overholdelse af klassiske idealer, der dominerede meget af det florentinske maleri i denne periode. Han prioriterede følelsesmæssig intensitet over anatomisk korrekthed og psykologisk dybde over realistisk repræsentation. Dette skifte markerede et afgørende brud med højrenæssancen og cementerede hans position som en af nøglefigurerne i udviklingen af manierismen – en kunstretning kendetegnet ved sin vægtning af elegance, kunstfærdighed og subjektivt udtryk.
Selvom han er berømt for sine religiøse malerier, var Pontormo også en yderst dygtig portrætmaler. Hans portrætter, især dem bestilt af Medici-familien, er bemærkelsesværdige for deres psykologiske indsigt og subtile karakternuancer. I modsætning til de idealiserede fremstillinger, der var almindelige i renæssancens portrætkunst, besidder Pontormos motiver en sjælden værdighed og sårbarhed, som afspejler en dybere forståelse for menneskelige følelser. Han brugte dygtigt symbolik – referencer til den portrætteredes sociale status, politiske magt eller personlige interesser – til at berige fortællingen i sine portrætter.
Hans skildring af medlemmer af Medici-hoffet er for eksempel særligt slående. Dette er ikke blot ligheder; de er omhyggeligt konstruerede erklæringer om magt, rigdom og herkomst, gennemsyret af en følelse af både storhed og melankoli. *Gravlæggelsen (Nedtagelsen fra korset)* (1525-15sted), bestilt til Santa Felicità i Firenze, eksemplificerer denne tilgang ved at forene religiøs ikonografi med psykologisk drama og en distinkt manieristisk æstetik.
Pontormos senere år var præget af stigende isolation og kunstnerisk uro. Han trak sig tilbage fra den livlige florentinske kunstscene og blev stadig mere tilbagetrukket og plaget. På trods af sine personlige kampe fortsatte han med at male indtil sin død i 1557, og han producerede en række følelsesmæssigt ladede værker, der afspejler hans udviklende stil og en dyb følelse af ubehag. De ufuldendte freskoer, han påbegyndte til San Lorenzo i Firenze, tilbyder et rørende indblik i de sidste stadier af hans kunstneriske udvikling.
På trods af de kontroverser, der omgav hans arbejde i hans levetid – mange kritikere afviste hans stil som kaotisk og foruroligende – er Pontormos indflydelse på efterfølgende generationer af kunstnere ubestridelig. Hans banebrydende brug af forlængede figurer, tvetydigt perspektiv og ekspressiv farvebrug banede vejen for barokken og formede den vestlige kunsts kurs fundamentalt. Han forbliver en vital skikkelse i forståelsen af de komplekse og transformative udviklinger, der fandt sted under overgangen fra renæssance til manierisme – et vidnesbyrd om hans revolutionære ånd og vedvarende kunstneriske vision.
