Posodobljeno oktober 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 86 del v našem katalogu avtorja Leandro Bassano
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Portrait of the Merchant Leonhard Hermann (1595) je slika avtorja Leandro Bassano, ki pritegne največ pogledov; original se nahaja v muzeju Bavarske državne slikopisne zbirke, München. Nato se pogled smeri k Magistrate with Crucifix (1600) in Departure of Abraham into the Promised Land (1595). Med 86 dela umetnika Leandro Bassano v našem katalogu so ta 85 najbolj znana; vsako je edinstven original, predstavljen z letnico nastanka, muzejem in razlogom za njegovo nečasenost.
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
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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
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The Moneychanger Orazio Lago, His Wife and a Client1600 · Kunsthistorisches Museum
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Portrait of a Venetian Magistrate1580 · Kunsthistorisches Museum
23
February1597 · Kunsthistorisches Museum
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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
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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 · Kraljeva zbirka
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
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Doge Marcantonio Memmo (1536–1615)1615 · English Heritage
46
Portrait of a Premonstratensian1605 · Kunsthistorisches Museum
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Saint Clara1590 · Kunsthistorisches Museum
48
LES NOCES DE CANALouvre
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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 · 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 · Muzej Prado
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Portrait of a Bearded Man1600 · National Gallery
57
The Tower of Babel1600
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Portrait of the Doge Marcantonio Memmo (1537-1615, Doge since 1612)Städel Museum
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Doge Marcantonio Memmo1612
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Banquet Scene1595
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St Anne and the Infant St MaryNationalmuseum
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Portrait of a ManNationalmuseum
63
The Month of JulyBavarske državne slikopisne zbirke
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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 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
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Little Girl Carrying a Basket1594 · Louvre
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Portrait of a Widow at her Devotions
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Portrait of a Bearded ManBavarske državne slikopisne zbirke
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Honorius III Approving the Rule of St Dominic in 1216Bazilika svetih Janeza in Pavla
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Portrait of an Old ManMuzej lepih umetnosti
79
The Tower of BabelNational Gallery
80
St Giacinto Walking on the Water of the River DnieperBazilika svetih Janeza in Pavla
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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, ki se v teh originalih najpogosteje ponavljajo, vsaka z svojim vrhunskim primerom.
8 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Leandro Bassano | Slike iz tega seznama |
|---|---|---|---|
 Kunsthistorisches Museum |
Dunaj | 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 |
 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 |
Izberite desetletje, da si ogledate original, ki ga opredeljuje.
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. Zatem sledeta Magistrate with Crucifix (1600) in Departure of Abraham into the Promised Land (1595).
38 let: delo Portrait of the Merchant Leonhard Hermann iz leta 1595, Leandro Bassano pa je bil/a rojen/a leta 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) in The Crowning with Thorns. Zgornja lestica prikazuje leto nastanka in muzej za vsako delo.
Naš katalog vsebuje 86 del avtorja Leandro Bassano, datiranih od 1570 do 1615.
Večini v Kunsthistorisches Museum (Dunaj), Bavarske državne slikopisne zbirke (München) in Muzej Prado (Madrid). Zgoraj navedena tabela muzejev vsebuje njihov celoten seznam.
V obdobju 1590s: 27 od 85 del na tej strani je bilo izdelovanih takrat, med njimi pa Portrait of the Merchant Leonhard Hermann.
Na tej strani je najstarejše delo iz Lazarus and Dives (1570) in najstarejše iz Doge Marcantonio Memmo (1536–1615) (1615).
People (21), Man (18) in Animals (13), na 85 delih na tej strani.
Oil On Canvas, za 40 od 85 del na tej strani.
Renaissance in Mannerism, glede na originala na tej strani.
Departure of Abraham into the Promised Land, March in Christ Drives the Merchants from the Temple: v muzeju Kunsthistorisches Museum, Dunaj se nahaja 22 del z te strani.
Jacopo Carucci, bolj znan kot Jacopo Pontormo, ostaja figura globoke in pogosto zapletene fascinacije v zgodovini umetnosti. Rodil se je leta 1494 v majhnem toskanskem mestu Pontorme blizu Empolija, a njegova usoda ni bila namenjena konvencionalnemu umetniškemu izobraževanju. Kot sirot, ki je v mladosti krožil med različnimi florentinskimi delavnicami – najprej pri Leonardu da Vinciju, nato pri Mariottu Albertinelliju in Pieru di Cosimu, preden je končno našel dom pri Andrea del Sartu – je njegovo zgodnje šolanje zaznamovala stroga disciplina visoke renesanse. Vendar kljub temu, da je od teh cenjenih mojstrov izpil principe perspektive, anatomije in klasične kompozicije, je Pontormo na koncu utrl svojo popolnoma unikatno pot, postal ključna figura v prehodu v manierizem in globoko vplival na prihajajoče generacije umetnikov.
Njegova zgodnja dela, kot je Obisk Device in svete Elizavete (okolo avtorja 1514–1516), kažejo jasno dolgovanje do njegovih predhodnikov. Figure so uravnotežene, harmoniočne in natančno slikane znotraj skrbno konstruirane arhitekturne postavیتve – kar so značilnosti renesančne slikarstva. Vendar pa že v teh zgodnjih delih se začnejo pojavljati subtilni namigi Pontormovega prepoznavnega sloga: izdoljene oblike, povečana čustvenost in nerazvedena negotovost, ki napoveduje radikalna odstopanja, ki jih bo kasneje sprejel.
Pontormova umetniška evolucija je bila neločljivo povezana z njegovimi potovanji in srečevanjem s severnoevropsko umetnostjo. Navdihnjen z gravirami in drevesnoreznimi printi umetnikov, kot sta Albrecht Dürer in Lucas van Leyden, ki so v tistem času krožili po Italiji, je začel eksperimentirati z bolj ohlajeno, ekspresivno pristopom k kompozicijo in Obliki. Ta vpliv je posebej očit v njegovih poznejših delih, kjer se zdijo, da figure plutijo v nedoločenem prostoru, ne vezane na omejitve gravitacije ali perspektive. Vihoraste, zavijane linije, ki značilijo njegov slog, ustvarjajo občutek dinamike in gibanja, kar ostro kontrastira s statično stabilnostjo renesančne umetnosti.
Kritično je pri tem, da je Pontormo zavrnil strogo upoštevanje klasičnih idealov, ki so dominirali v večini florentinskega slikarstva v tem obdobju. Prednost je dajal čustveni intenzivnosti pred anatomsko natančnostjo in psihološki globini pred realistično predstavitvijo. Ta premik je označil odločen prelom z visoko renesanso in ga trdno uveljavil kot enega ključnih likov razvoja manierizma – umetniškega gibanja, ki ga zaznamuje poudarek na eleganci, umetni \]izumetnosti in subjektivni izraz.
Čepol je bil znamenit zaradi svojih religioznih slik, je bil Pontormo tudi izjemno uspoložen portretist. Njegovi portreti, še posebej oni, ki so jih naročila družina Medici, so izstopajoči zaradi psihološkega vpogleda in subtilnih nians človeškega značaja. Za razliko od idealiziranih predstavov, običajnih v renesančnem portretizmu, imajo Pontormovi modeli redko dostojnost in ranljivost, kar odraža globlje razumevanje človeških čustev. Sposobno je uporabljal simboliko – namige na družbeni status, politično moč ali osebne interese modela – da bi obogatil narativno kakovost svojih portretov.
Njegov prikaz članov medičanske dvorne je, na primer, posebej osupljiv. To niso le podobnosti; so skrbno konstruirana sporočila o moči, bogastvu in liniji, prepojena z občutkom veličine in melanholije. Delo *Polaganje v grob (Spomin na Kristovo spušanje z križa)* (1525–1528), naročeno za cerkev Santa Felicità v Florenci, ponazarja ta pristop, saj združuje religiozno ikonografijo s psihološko dramo in izrazito manieristično estetiko.
Pontormove pozne leta so zaznala vse večja izolacija in umetniška turbulenca. Odvlačil se je od živahne florentinske umetnostne scene, postal vse bolj samotarjak in nemiren. Kljub osebnim težavam je slikal vse do smrti leta 1557, pri čemer je ustvaril serijo čustveno naloženih del, ki odražajo njegov razvijajoči se slog in globok občutek tesnobe. Nedokončane freske, ki jih je začel delati za San Lorenzo v Florenci, ponujajo ganljiv vpogled v zadnje faze njegove umetniške razvoja.
Kljub kontroverzam, ki so obkolevale njegovo delo med njegovim življenjem – mnogi kritiki so njegov slog označili za kaotičen in nemiren – je Pontormov vpliv na naslednje generacije umetnikov nepodvden. Njegova pionirska uporaba izdoljenih figur, nedoločne perspektive in ekspresivne barve je pavedila pot baroknemu obdobju in globoko oblikovala pot zahodne umetnosti. Ostaja ključna figura za razumevanje kompleksnih in transformativnih razvojov, ki so se zgodili med prehodom iz renesanse v manierizem, kot dokaz njegove revolucionarne duše in trajne umetniške vizije.
