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Portrait of the Merchant Leonhard Hermann (1595) je slika autora Leandro Bassano koja privlači najviše pogleda; original se nalazi u muzeju Bavarske državne slikopisne zbirke, München. Nakon toga, pogled se usmjerava na Magistrate with Crucifix (1600) i Departure of Abraham into the Promised Land (1595). Među 86 djela umjetnika Leandro Bassano u našem katalogu, ovih 85 su najpoznatija, od kojih je svako jedinstveni original predstavljen s godinom nastanka, muzejom i razlogom zbog kojeg je vječno.
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 · Muzej 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 · Bavarske državne slikopisne zbirke
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 · Bavarske državne slikopisne zbirke
29
The Month of July1589 · Bavarske državne slikopisne zbirke
30
The Holy Family1589 · Bavarske državne slikopisne zbirke
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 · Bavarske državne slikopisne zbirke
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 · Muzej Prado
50
Donor PortraitKunsthistorisches Museum
51
The Last Supper1578 · Santa Maria Formosa
52
Penelope1575 · Musée Des Beaux
53
Man with a Knife1580 · Muzej umjetnosti John i Mabel Ringling
54
The Return of the Prodigal Son1588 · Bristol Museum - Art Gallery
55
Embarkation of the Doge of Venice1595 · Muzej 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 JulyBavarske državne slikopisne zbirke
64
Portrait of a Young ManGemäldegalerie
65
Portrait of a ManMuzej umjetnosti John i Mabel Ringling
66
The Visit of the Queen of Sheba to SolomonNational Gallery of Ireland
67
Susanna and the EldersBavarske državne slikopisne zbirke
68
Portrait of a ManIndianapolis Museum of Art
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 ManBavarske državne slikopisne zbirke
77
Honorius III Approving the Rule of St Dominic in 1216Bazilika svetih Ivana i Pavla
78
Portrait of an Old ManSzépművészeti Múzeum
79
The Tower of BabelNational Gallery
80
St Giacinto Walking on the Water of the River DnieperBazilika svetih Ivana i Pavla
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
Četiri teme koje se najčešće ponavljaju u ovim originalima, svaka s svojim vrhunskim primjerom.
8 muzeja u kojima se nalazi najviše djela s ove stranice.
| Muzej | Grad | Djela autora Leandro Bassano | Slike iz ovog popisa |
|---|---|---|---|
 Kunsthistorisches Museum |
Beč | 22 | Departure of Abraham into the Promised Land, March, Christ Drives the Merchants from the Temple |
 Bavarske državne slikopisne zbirke |
München | 9 | Portrait of the Merchant Leonhard Hermann, Portrait of the Pisan Giovanni Magnani, Christ with Mary and Martha |
 Muzej 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 |
Pariz | 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 |
 Muzej umjetnosti John i Mabel Ringling |
Sarasota | 2 | Man with a Knife, Portrait of a Man |
 National Gallery |
London | 2 | Portrait of a Bearded Man, The Tower of Babel |
Odaberite desetljeće kako biste vidjeli original koji ga definira.
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), Bavarske državne slikopisne zbirke, München. Nakon njih slijede Magistrate with Crucifix (1600) i Departure of Abraham into the Promised Land (1595).
38 godina: Portrait of the Merchant Leonhard Hermann datira iz 1595, a Leandro Bassano je rođen/a 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) i The Crowning with Thorns. Gornji rang prikazuje godinu i muzej za svako od njih.
Naš katalog sadrži 86 djela umjetnika Leandro Bassano, datiranih od 1570 do 1615.
Većinom u Kunsthistorisches Museum (Beč), Bavarske državne slikopisne zbirke (München) i Muzej Prado (Madrid). Gornja tablica muzeja navodi sve njih.
U 1590s: 27 od 85 djela na ovoj stranici nastalo je tada, od čega je Portrait of the Merchant Leonhard Hermann Portrait of the Merchant Leonhard Hermann.
Na ovoj stranici najstarije djelo je iz Lazarus and Dives (1570), a najnovije iz Doge Marcantonio Memmo (1536–1615) (1615).
People (21), Man (18) i Animals (13), kroz svih 85 djela na ovoj stranici.
Oil On Canvas, za 40 od 85 djela na ovoj stranici.
Renaissance i Mannerism, sudeći po originalima na ovoj stranici.
Departure of Abraham into the Promised Land, March i Christ Drives the Merchants from the Temple: Kunsthistorisches Museum, Beč posjeduje 22 djela s ove stranice.
Jacopo Carucci, poznatiji kao Jacopo Pontormo, ostaje figura duboke i često zbunjujuće fascinacije u povijesti umjetnosti. Rođen 1494. godine u malom toskanskom gradiću Pontorme blizu Empolija, nije bio predodređen za konvencionalno umjetničko odgojivanje. Rano si ostao siroče i prepinjan između različitih firentinskih radionica – prvo s Leonardom da Vincijem, zatim s Mariottom Albertinellijem i Pierom di Cosimom, prije nego što je konačno pronašao dom kod Andrea del Sarta – njegovo rano školovanje obilježila je stroga disciplina visoke renesanse. Ipak, unatoč tome što je od ovih cijenjenih majstora usvojio principe perspektive, anatomije i klasične kompozicije, Pontormo je na kraju izgrađivao vlastiti put, postajući ključna figura u prijelazu prema manierizmu i duboko utječući na generacije umjetnika koji su došli nakon njega.
Njegova rana djela, poput Obilježavanja Bogatice i svete Elizabete (oko ud 1514. - 1516.), pokazuju jasnu dug prema njegovim prethodnicima. Figure su uravnotežene, harmonične i pedantno prikazane unutar pažljivo konstruiranog arhitektonskog okruženja – što su obilježja renesansnog slikarstva. Međutim, čak i u ovim ranim djelima počinju se nazirati suptilni tragovi Pontormovog prepoznatljivog stila: izduženi oblici, pojačani osjećaj emocije i uznemirujuća ambiguitetnost koja nagovještava radikalna odstupanja koja će kasnije prihvatiti.
Pontormova umjetnička evolucija bila je neraskidivo povezana s njegovim putovanjima i susretima s europskom umjetnošću sjevera. Inspiriran gravurama i drvoreznima umjetnika poput Albrehta Dürera i Lucasa van Leydena, koji su u to vrijeme široko kružili Italijom, počeo je eksperimentirati s opuštenijim, izražajnijim pristupom kompoziciji i obliku. Ovaj utjecaj je posebno evidentan u njegovim kasnijim djelima, gdje se figure čine kao da plutaju u neodređenom prostoru, ne vezane ograničenjima gravitacije ili perspektive. Spirale i serpentinske linije koje karakteriziraju njegov stil stvaraju osjećaj dinamike i pokreta, oštro kontrastirajući sa statičnom stabilnošću renesansne umjetnosti.
Presudno je bilo to što je Pontormo odbacio strogo pridržavanje klasičnih ideala koji su dominirali velikim dijelom firentinskog slikarstva u tom razdoga. Prioritet je dao emocionalnom intenzitetu nad anatomskom točnošću, psihološkoj dubini nad realističnim prikazom. Ovaj pomak označio je odlučan prekid s visokom renesansom i čvrsto ga utvrdio kao jednu od ključnih figura u razvoju manierizma – umjetničkog pokreta koji se odlikuje naglaskom na eleganciju, umjetnost i subjektivni izraz.
Iako je bio poznat po svojim religioznim slikama, Pontormo je bio i iznimno vješt portretist. Njegovi portreti, posebno oni koje je naručila obitelj Medici, ističu se psihološkim uvidom i suptilnim nijansama karaktera. Za razliku od idealiziranih prikaza uobičajenih u renesansnom portretstvu, Pontormovi subjekti posjeduju rijetku dostojanstvenost i ranjivost, odražavajući dublje razumijevanje ljudskih emocija. Vješto je koristio simboliku – reference na društveni status modela, političku moć ili osobne interese – kako bi obogatio narativnu kvalitetu svojih portreta.
Njegov prikaz članova dvorane Medici, primjerice, posebno je upečatljiv. To nisu samo sličice; to su pažljivo konstruirane izjavama o moći, bogatstvu i porijeklu, prožete osjećajem veličanstvenosti i melanholije. *Spuštanje s križa (Polaganje Isusa u grob)* (1525. - 1528.), naručen za crkvu Santa Felicità u Firentom, primjer je ovog pristupa, spajajući religijsku ikonografiju s psihološkom dramom i izrazito manierističkom estetikom.
Pontormove kasnije godine obilježene su sve većom izolacijom i umjetničkim nemirima. Povukao se iz živopisne firentinske umjetničke scene, postajući sve povučeniji i uznemireniji. Unatoč osobnim borbama, nastavio je slikati do svoje smrti 1557. godine, stvarajući niz emocionalno nabijenih djela koja odražavaju njegov evoluirajući stil i duboki osjećaj nelagode. Nedovršeni fresci koje je poduzeo za San Lorenzo u Firentom nude dirljiv uvid u posljednje faze njegovog umjetničkog razvoja.
Unatoč kontroverzama koje su okruživale njegov rad tijekom njegova života – mnogi kritičari su njegov stil odbacili kao kaotičan i uznemirujući – Pontormov utjecaj na sljedeće generacije umjetnika je neporeciv. Njegova pionirska upotreba izduženih figura, ambigvizne perspektive i ekspresivne boje otvorila je put baroknom razdoblju i duboko oblikovala smjer zapadne umjetnosti. On ostaje vitalna figura u razumijevanju složenih i transformativnih razvoja koji su se dogodili tijekom prijelaza iz renesanse u manierizam, kao svjedočanstvo njegovog revolucionarnog duha i trajne umjetničke vizije.
