更新于 November 2026 · 基于我们的流行度评分排名（每件作品的搜索量、访问量及订单量） · 86 件 莱安德罗·巴萨诺 作品收录于我们的目录中
简而言之
Portrait of the Merchant Leonhard Hermann (1595) 是 莱安德罗·巴萨诺 最受瞩目的画作；原作收藏于 慕尼黑 的 巴伐利亚州绘画收藏馆。 随后，目光会移向 Magistrate with Crucifix (1600) 和 Departure of Abraham into the Promised Land (1595)。 在 莱安德罗·巴萨诺 的 86 件作品中，这 85 件最为闻名；每一件都是独一无二的原作，并附有创作年份、馆藏机构及其经久不衰的原因。
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 · 普拉多博物馆
12
Burial of Christ1579 · 维也纳艺术史博物馆
13
Summer (July)1597 · 维也纳艺术史博物馆
14
August1597 · 维也纳艺术史博物馆
15
June1597 · 维也纳艺术史博物馆
16
Portrait of the Dogaressa Morosina Morosini1595 · 德累斯顿国家艺术收藏馆
17
November1597 · 维也纳艺术史博物馆
18
May1597 · 维也纳艺术史博物馆
19
The Feast of Anthony and Cleopatra1600 · 国家博物馆
20
Parable of the Rich Man and the Poor Lazarus1592 · 维也纳艺术史博物馆
21
The Moneychanger Orazio Lago, His Wife and a Client1600 · 维也纳艺术史博物馆
22
Portrait of a Venetian Magistrate1580 · 维也纳艺术史博物馆
23
February1597 · 维也纳艺术史博物馆
24
April1590 · 维也纳艺术史博物馆
25
Portrait of the Pisan Giovanni Magnani1582 · 巴伐利亚州绘画收藏馆
26
The Hebrews Gathering Water Gushing from the Rock1578 · 格勒诺布尔博物馆
27
The Adoration of the Magi1574 · Musée d'art et d'histoire de Narbonne
28
Christ with Mary and Martha1589 · 巴伐利亚州绘画收藏馆
29
The Month of July1589 · 巴伐利亚州绘画收藏馆
30
The Holy Family1589 · 巴伐利亚州绘画收藏馆
31
Adoration of the Shepherds1593 · Rhode Island School of Design Museum of Art
32
The Dead Christ with Angels1580 · 克利夫兰艺术博物馆
33
Mises Striking the Rock1589 · 巴伐利亚州绘画收藏馆
34
Seasonal allegory with Adam and Eve1580 · 奥克兰美术馆 Toi o Tāmaki
35
Christ Appearing to a Nobleman1580 · 哈佛艺术博物馆
36
Fairground1595 · 维也纳艺术史博物馆
37
Portrait of a Luteplayer1600
38
Jesus chasing the merchants from the Temple1600 · 里尔美术馆
39
Portrait of a Boy with his Tutor1600 · 皇家收藏馆
40
Annunciation to the Shepherds1597 · 斯泰恩斯博物馆艺术馆
41
The Wedding at Cana1600
42
Portrait of a Woman, probably Morosina Morosini, Wife of Marino Grimani, the Doge of Venice1595 · 国家博物馆
43
Saint Francis1590 · 维也纳艺术史博物馆
44
January1590 · 维也纳艺术史博物馆
45
Doge Marcantonio Memmo (1536–1615)1615 · English Heritage
46
Portrait of a Premonstratensian1605 · 维也纳艺术史博物馆
47
Saint Clara1590 · 维也纳艺术史博物馆
48
LES NOCES DE CANA卢浮宫
49
Portrait of Jacopo Bassano1601 · 普拉多博物馆
50
Donor Portrait维也纳艺术史博物馆
51
The Last Supper1578 · Santa Maria Formosa
52
Penelope1575 · Musée Des Beaux
53
Man with a Knife1580 · 约翰和玛贝尔·林灵博物馆
54
The Return of the Prodigal Son1588 · 布里斯托博物馆与美术馆
55
Embarkation of the Doge of Venice1595 · 普拉多博物馆
56
Portrait of a Bearded Man1600 · 国家美术馆
57
The Tower of Babel1600
58
Portrait of the Doge Marcantonio Memmo (1537-1615, Doge since 1612)施泰德美术馆
59
Doge Marcantonio Memmo1612
60
Banquet Scene1595
61
St Anne and the Infant St Mary国家博物馆
62
Portrait of a Man国家博物馆
63
The Month of July巴伐利亚州绘画收藏馆
64
Portrait of a Young Man柏林国家美术馆
65
Portrait of a Man约翰和玛贝尔·林灵博物馆
66
The Visit of the Queen of Sheba to Solomon爱尔兰国家美术馆
67
Susanna and the Elders巴伐利亚州绘画收藏馆
68
Portrait of a Man印第安纳波利斯艺术博物馆
69
St. Christopher沃尔特斯艺术博物馆
70
Doge Marino Grimani
71
Orpheus Charming The Animals
72
PENELOPE
73
JESUS CHASSANT LES MARCHANDS DU TEMPLE
74
Little Girl Carrying a Basket1594 · 卢浮宫
75
Portrait of a Widow at her Devotions
76
Portrait of a Bearded Man巴伐利亚州绘画收藏馆
77
Honorius III Approving the Rule of St Dominic in 1216圣若望与圣保罗大殿
78
Portrait of an Old Man布达佩斯美术博物馆
79
The Tower of Babel国家美术馆
80
St Giacinto Walking on the Water of the River Dnieper圣若望与圣保罗大殿
81
Last Judgment伯明翰艺术博物馆
82
The Birth of the Virgin
83
Moses Striking the Rock卢浮宫
84
Allegory of the Element Earth1580 · 沃尔特斯艺术博物馆
85
Madonna del Rosario with Dead Christ, Angels and Rulers1595
这些原作中反复出现的四个主题，各有一个最杰出的范例。
收藏了本页中大部分画作的 8 家博物馆。
| 博物馆 | 城市 | 莱安德罗·巴萨诺 的作品 | 此列表中的画作 |
|---|---|---|---|
 维也纳艺术史博物馆 |
维也纳 | 22 | Departure of Abraham into the Promised Land, March, Christ Drives the Merchants from the Temple |
 巴伐利亚州绘画收藏馆 |
慕尼黑 | 9 | Portrait of the Merchant Leonhard Hermann, Portrait of the Pisan Giovanni Magnani, Christ with Mary and Martha |
 普拉多博物馆 |
马德里 | 5 | Magistrate with Crucifix, The Crowning with Thorns, Lazarus and Dives |
 国家博物馆 |
斯德哥尔摩 | 3 | The Feast of Anthony and Cleopatra, St Anne and the Infant St Mary, Portrait of a Man |
 卢浮宫 |
巴黎 | 3 | LES NOCES DE CANA, Little Girl Carrying a Basket, Moses Striking the Rock |
 里尔美术馆 |
里尔 | 2 | Portrait of Battista Gardalino, Jesus chasing the merchants from the Temple |
 约翰和玛贝尔·林灵博物馆 |
萨拉索塔 | 2 | Man with a Knife, Portrait of a Man |
 国家美术馆 |
伦敦 | 2 | Portrait of a Bearded Man, The Tower of Babel |
选择一个年代，探索定义该时代的原创杰作。
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)，巴伐利亚州绘画收藏馆, 慕尼黑。紧随其后的是 Magistrate with Crucifix (1600) 和 Departure of Abraham into the Promised Land (1595)。
38岁：Portrait of the Merchant Leonhard Hermann创作于1595年，莱安德罗·巴萨诺出生于1557年。
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) 及 The Crowning with Thorns。上方排名显示了每件作品的创作年份及馆藏机构。
我们的目录收录了 86 件 莱安德罗·巴萨诺 的作品，创作年代从 1570 年至 1615 年。
多见于 维也纳艺术史博物馆 (维也纳), 巴伐利亚州绘画收藏馆 (慕尼黑) 及 普拉多博物馆 (马德里)。上方的博物馆列表列出了所有相关机构。
在 1590s 期间：本页 85 件作品中有 27 件创作于该时期，其中包含 Portrait of the Merchant Leonhard Hermann 件作品。
在本页面中，最早的作品创作于 Lazarus and Dives (1570)，最晚的创作于 Doge Marcantonio Memmo (1536–1615) (1615)。
People (21), Man (18) 及 Animals (13)，共计 85 件作品。
Oil On Canvas，共计 40 件（本页共有 85 件作品）。
根据本页面的原作，Renaissance 及 Mannerism
Departure of Abraham into the Promised Land, March 及 Christ Drives the Merchants from the Temple：维也纳艺术史博物馆, 维也纳收藏了本页中 22 件作品。
雅各布·卡鲁奇（Jacopo Carucci），更为人熟知的名字是雅各布·蓬托莫，在艺术史上始终是一个充满深邃且往往令人费解的迷人存在。1494年，他出生于佛罗伦萨埃姆波利附近托斯卡纳的小镇蓬托梅，其早年的艺术成长之路并非循规蹈矩。自幼失怙的他，辗转于佛罗伦萨的各大画室之间——最初追随列奥纳多·达·芬奇学习，随后又在马里奥托·阿尔贝蒂内利与皮耶罗·迪·科西莫的指导下磨炼，最终在安德烈亚·德尔·萨尔托门下寻得归宿。这段早期的训练历程充满了盛期文艺复兴时期严谨的纪律性。然而，尽管他从这些泰斗级大师那里汲取了透视、解剖学和古典构图的精髓，蓬托莫最终却开辟了一条完全属于自己的道路，成为了通往风格主义（Mannerism）转型时期的关键人物，并深刻影响了后世无数的艺术家。
他的早期作品，例如《圣母与伊丽莎白会面》（约1514-1516年），清晰地展现了他对前辈大师的承袭。画面中的人物比例均衡、和谐，并在精心构建的建筑背景中得到了细腻的呈现——这些皆是文艺复兴绘画的典型特征。然而，即便是在这些早期作品中，蓬托素独特的风格痕迹已开始悄然浮现：拉长的形体、被强化的情感张力，以及一种令人不安的模糊感，预示着他日后将要进行的激进变革。
蓬托莫艺术演进的过程，与其旅行经历及与北欧艺术的邂逅密不可分。受到当时在意大利广泛流传的阿尔布雷希特·丢勒和卢卡斯·范·莱顿等艺术家版画与木刻画的启发，他开始尝试一种更为松散、更具表现力的构图与形式方法。这种影响在他后期的作品中尤为显著：人物仿佛漂浮在不确定的空间之中，不再受制于重力或透视法的束缚。他风格中标志性的蜿蜒、蛇形线条营造出一种动态与律动感，与文艺复伦斯艺术那种静止的稳定性形成了鲜明的对比。
至关重要的是，蓬托莫拒绝了当时统治佛罗伦萨绘画主流的古典理想主义。他将情感的强度置于解剖学的准确性之上，将心理的深度置于写实的描绘之上。这一转变标志着他与盛期文艺复兴决绝的断裂，并确立了他作为风格主义发展核心人物的地位——这一艺术运动的核心特征便是对优雅、人工感以及主观表现力的极致追求。
虽然蓬托莫以宗教绘画闻名遐迩，但他同时也是一位造诣极高的肖像画家。他的肖像画，尤其是受美第奇家族委托创作的作品，因其敏锐的心理洞察力和人物性格的微妙细微之处而著称。不同于文艺复兴肖像画中常见的理想化呈现，蓬托莫笔下的主体拥有一种罕见的尊严与脆弱感，反映出他对人类情感更深层次的理解。他巧妙地运用象征手法——通过对模特社会地位、政治权力或个人兴趣的隐喻——来丰富其肖像画的叙事性。
例如，他对美第奇宫廷成员的描绘便格外引人注目。这些作品并非仅仅是容貌的摹写，更是关于权力、财富与血统精心构建的宣言，其中交织着宏伟感与忧郁情怀。为佛罗伦萨圣费利奇塔教堂创作的《哀悼基督》（1525-1528）便是这种艺术手法的典范，它将宗教图像学与心理剧场感以及鲜明的风格主义美学完美融合。
蓬托莫的晚年充满了日益加剧的孤独与艺术上的动荡。他逐渐退出了充满活力的佛罗伦萨艺术圈，变得愈发隐遁且内心焦虑。尽管身处个人困境，他仍坚持创作直至1557年去世，留下了一系列情感充沛的作品，这些作品映射出他不断演变的风格以及深层的惶恐不安。他在为佛罗伦萨圣洛伦佐教堂承担的那些未完成壁画中，可以窥见其艺术生涯末期那令人心碎的生命轨迹。
尽管在其生前，他的作品曾饱受争议——许多评论家斥责其风格混乱且令人不安——但蓬托莫对后世艺术家的影响是无可辩驳的。他开创性地运用拉长的形体、模糊的透视以及极具表现力的色彩，为巴洛克时期的到来铺平了道路，并深刻塑造了西方艺术的发展进程。在理解从文艺复兴向风格主义过渡期间那复杂且具有变革性的发展历程中，他始终是一位不可或缺的关键人物，其革命精神与持久的艺术远见至今仍闪耀着光芒。
