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Portrait of a Woman kki
Painting ID:: 4950
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Portrait of a Woman kki
Oil on wood, 43,5 x 34,3 cm
Städelsches Kunstinstitut, Frankfurt
Oil_on_wood,_43,5_x_34,3_cm
Städelsches_Kunstinstitut,_Frankfurt
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Portrait of a Woman
Painting ID:: 40285
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Portrait of a Woman
mk156
Oil on panel
43.5x34.3cm
mk156
Oil_on_panel
43.5x34.3cm
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Portrait of Ludovico Martinengo
Painting ID:: 43052
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Portrait of Ludovico Martinengo
mk170
dated 1530
June 16
Oil on wood
105.4x71.1cm
mk170
dated_1530
June_16
Oil_on_wood
105.4x71.1cm
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St Nicholas of Bari
Painting ID:: 44303
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St Nicholas of Bari
Oil on canvas
Oil_on_canvas
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Woman Playing a Lu
Painting ID:: 52247
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Woman Playing a Lu
1520 Oil on panel, 65 x 50 cm
1520_Oil_on_panel,_65_x_50_cm
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BARTOLOMEO VENETO
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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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Related Artists::.
| BORSSUM, Anthonie van | HELST, Bartholomeus van der | Berswordt Altar | |
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