Oil On Canvas, Real Flavor of Old Masters

All BORDONE, Paris 's Paintings
The Painting Names Are Sorted From A to Z

ID Image  Painting (From A to Z)       Details 
Allegory, BORDONE, Paris
 Allegory   1558-60 Oil on canvas, 110 x 131 cm The Hermitage, St. PetersburgArtist:BORDONE, Paris Title: Allegory Painted in 1501-1550 , Italian - - painting : mythological
Allegory ghyj, BORDONE, Paris
 Allegory ghyj   1558-60 Oil on canvas, 110 x 131 cm The Hermitage, St. Petersburg
Hieronimus Kraffter ou Crofft,marchand d'Augsbourg, BORDONE, Paris
 Hieronimus Kraffter ou Crofft,marchand d'Augsbourg   mk70 Toile H.1.07 L.0.86 Paris,Musee du Louvre
Nude intp, BORDONE, Paris
 Nude intp   Pencil and chalk on paper, 32 x 20 cm Galleria degli Uffizi, Florence
The Presentation of the Ring fdhfd, BORDONE, Paris
 The Presentation of the Ring fdhfd   1534 Oil on canvas, 370 x 301 cm Gallerie dell'Accademia, Venice
The Venetian Lovers, BORDONE, Paris
 The Venetian Lovers   Oil on canvas, 95 x 80 cm Pinacoteca di Brera, Milan
Venus and Mars with Cupid, BORDONE, Paris
 Venus and Mars with Cupid   1559-60 Oil on canvas, 118 x 130,5 cm Galleria Doria-Pamphili, Rome

Italian High Renaissance Painter, 1500-1571 Bordone was born at Treviso, but had moved to Venice by late adolescence. He apprenticed briefly and unhappily (according to Vasari) with Titian. Vasari may have met the elder Bordone. From the 1520s, we have works by Bordone including the Holy Family in Florence, Sacra Conversazione with Donor (Glasgow), and Holy Family with St. Catherine (Hermitage Museum). The St. Ambrose and a Donor (1523) is now in Brera. In 1525-6, Bordone painted an altarpiece for the church of S. Agostino in Crema, a Madonna with St. Christopher and St George (now in the Palazzo Tadini collection at Lovere). A second altarpiece, Pentecost, is now in Brera gallery. In 1534-5, he painted his large-scale masterpiece for the Scuola di San Marco a canvas of the Fisherman delivering the Marriage Ring of Venice to the Doge (Accademia). However, when this latter painting is compared to the near-contemoporary, and structurally similar, Presentation of the Virgin, Bordone's limitations, his use of superior perspective, which creates dwarfed distant perspectives, and limited coloration relative to the brilliant tints of Titian. Bordone is best at his smaller cabinet pieces, showing half-figures, semi-undressed men and women from mythology or religious stories in a muscular interaction despite the crowded space.

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