Oil On Canvas, Real Flavor of Old Masters

All BARTOLOMEO VENETO 's Paintings
The Painting Names Are Sorted From A to Z


ID Image  Painting (From A to Z)       Details 
80444  
Alleged portrait of Lucrezia Borgia, BARTOLOMEO VENETO
 
 Alleged portrait of Lucrezia Borgia   Date 16th century Medium Oil on canvas cjr
84720  
Alleged portrait of Lucrezia Borgia, BARTOLOMEO VENETO
 
 Alleged portrait of Lucrezia Borgia   16th century Medium Oil on canvas cyf
79948  
Beatrice d Este, BARTOLOMEO VENETO
 
 Beatrice d Este   1510s Medium Oil on canvas Dimensions 75 x 56 cm (29.5 x 22 in) cyf
79192  
Beatrice dEste, BARTOLOMEO VENETO
 
 Beatrice dEste   1510s Medium Oil on canvas Dimensions 75 x 56 cm (29.5 x 22 in) cyf
83681  
Cleveland Museum of Art, BARTOLOMEO VENETO
 
 Cleveland Museum of Art   Cleveland Museum of Art
73294  
John the Baptist, BARTOLOMEO VENETO
 
 John the Baptist   John the Baptist cjr
75024  
John the Baptist, BARTOLOMEO VENETO
 
 John the Baptist   John the Baptist Date 16th century cyf
63841  
Portrait of a Gentleman, BARTOLOMEO VENETO
 
 Portrait of a Gentleman   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
75161  
Portrait of a Lady in a Green Dress, BARTOLOMEO VENETO
 
 Portrait of a Lady in a Green Dress   1530 Oil on panel 33-7/8 x 26-5/8 in. cjr
76991  
Portrait of a Lady in a Green Dress, BARTOLOMEO VENETO
 
 Portrait of a Lady in a Green Dress   Date 1530 Medium Oil on panel Dimensions 33-7/8 x 26-5/8 in. cyf
40285  
Portrait of a Woman, BARTOLOMEO VENETO
 
 Portrait of a Woman   mk156 Oil on panel 43.5x34.3cm
97208  
Portrait of a Woman, BARTOLOMEO VENETO
 
 Portrait of a Woman   between 1520(1520) and 1525(1525) Medium tempera and oil on poplar wood cyf
4950  
Portrait of a Woman  kki, BARTOLOMEO VENETO
 
 Portrait of a Woman kki   Oil on wood, 43,5 x 34,3 cm Städelsches Kunstinstitut, Frankfurt
43052  
Portrait of Ludovico Martinengo, BARTOLOMEO VENETO
 
 Portrait of Ludovico Martinengo   mk170 dated 1530 June 16 Oil on wood 105.4x71.1cm
79424  
Ritratto Di Donna Ebrea Con Gli Attributi Di Joele, BARTOLOMEO VENETO
 
 Ritratto Di Donna Ebrea Con Gli Attributi Di Joele   Ritratto Di Donna Ebrea Con Gli Attributi Di Joele. cjr
82366  
Ritratto Di Donna Ebrea Con Gli Attributi Di Joele, BARTOLOMEO VENETO
 
 Ritratto Di Donna Ebrea Con Gli Attributi Di Joele   Ritratto Di Donna Ebrea Con Gli Attributi Di Joele cyf
83511  
Ritratto Di Gentildonna, BARTOLOMEO VENETO
 
 Ritratto Di Gentildonna   Notes Cat. 39 cyf
79736  
Ritratto Di Giovane Gentiluomo, BARTOLOMEO VENETO
 
 Ritratto Di Giovane Gentiluomo   The Cleveland Museum of Art cjr
58337  
san giovanni battita, BARTOLOMEO VENETO
 
 san giovanni battita   mk261 years 1510 -1520 Venice oil painting on canvas 65.5 x 40 cm Florence.
44303  
St Nicholas of Bari, BARTOLOMEO VENETO
 
 St Nicholas of Bari   Oil on canvas
83517  
The Timken Art Gallery, BARTOLOMEO VENETO
 
 The Timken Art Gallery   The Timken Art Gallery cyf
52247  
Woman Playing a Lu, BARTOLOMEO VENETO
 
 Woman Playing a Lu   1520 Oil on panel, 65 x 50 cm
63540  
Woman Playing a Lute, BARTOLOMEO VENETO
 
 Woman Playing a Lute   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
Italian Painter, ca.1470-1531 Italian painter. He worked in Venice, the Veneto and Lombardy in the early decades of the 16th century. Knowledge of him is based largely on the signatures, dates and inscriptions on his works. His early paintings are small devotional pictures; later he became a fashionable portraitist. His earliest dated painting, a Virgin and Child (1502; Venice, priv. col., see Berenson, i, pl. 537), is signed 'Bartolomeo half-Venetian and half-Cremonese'. The inscription probably refers to his parentage, but it also suggests the eclectic nature of his development. This painting is clearly dependent on similar works by Giovanni Bellini and his workshop, but in a slightly later Virgin and Child (1505; Bergamo, Gal. Accad. Cararra) the sharp modelling of the Virgin's headdress and the insistent linear accents in the landscape indicate Bartolomeo's early divergence from Giovanni's depiction of light and space. An inscription on his Virgin and Child of 1510 (Milan, Ercolani Col.) states that he was a pupil of Gentile Bellini, an assertion supported by the tightness and flatness of his early style. The influence of Giovanni is still apparent in the composition of the Circumcision (1506; Paris, Louvre), although the persistent stress on surface patterns and the linear treatment of drapery and outline is closer to Gentile. Bartolomeo's experience as a painter at the Este court in Ferrara (1505-8) probably encouraged the decorative emphasis of his style. In the half-length Portrait of a Man (c. 1510; Cambridge, Fitzwilliam) the flattened form of the fashionably dressed sitter is picked out against a deep red curtain so that the impression of material richness extends across the entire picture surface.



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