|Bassano (family da Ponte)
Тема: Bassano (family da Ponte)
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Создан: 10 февраля 2007 года
Bassano (family da Ponte)
Bassano, Jacopo (Jacopo da Ponte) (b. c.1510-18,
Bassano del Grappa; d. 1592, Bassano). Italian painter, the most celebrated
member of a family of artists who took their name from the small town of
Bassano, about 65 km. from Venice.
from a period in the 1530s when he trained with Bonifazio Veronese in Venice,
Jacopo worked in Bassano all his life. His father, Francesco the Elder
(c.1475-1539), was a village painter and Jacopo always retained something of
the peasant artist, even though the influence of, for example, the fashionable
etchings of Parmigianino is evident in his work.
though most of his career was spent in small or middle-sized towns on the
mainland, he always remained alert to the latest developments in art, sometimes
borrowing details from Lorenzo Lotto's works in his portraits. A pioneer in
genre scenes and landscape painting, engravings were critical in forming
Jacopo's style, particularly those by and after artists like Albrecht
Dürer, Raphael, and Parmigianino.
1534 he had found his direction in the art of nearby Venice, learning as much
from the chiaroscuro and luxurious color of Titian's works as from his
teachers. He won some renown in Venice itself, and became one of the Veneto's
most influential painters in the mid-1500s.
also had the ability to devise new ideas for compositions that possessed great
force of expression. Trained in his father's studio, Jacopo broke away from the
local popular and devotional tradition by studying prints by Raphael and
developments in Mannerism. His early Mannerist works used elongated figures and
brilliant colors. During the 1540s his painting was experimental, the anatomy
of his characters was forced and their postures unnatural. This phase proved
crucial in the development of his own very personal style which was capable of
assimilating new ideas and translating them into an art with enormous
communicative power. Jacopo Bassano's popular realism was underpinned by his
exceptional use of light and characterized by the lifelike quality of the
people and details, especially the animals, in his pictures. Local taste
required that art illustrate reality, and Jacopo drew inspiration from the
simple human scenes, farm life, and changing aspects of nature he observed in
his hometown. To Mannerism's energy, extreme movement, and tightly compressed
space, he added realism and earthiness. A humble and subtle observer, his
sitters may seem unaware of his presence. Increasingly, he used religious and
philosophical subjects as pretexts for painting genre scenes and landscapes.
the years his oeuvre became increasingly grand and dramatic, starting with a
series of altarpieces (in Bassano, Treviso, Padua, and Belluno) whose
production dates from the 1550s through to the end of his career.
treated biblical themes in the manner of rustic genre scenes, using genuine
country types and portraying animals with real interest. In this way he helped
to develop the taste for paintings in which the genre or still-life element
assumes greater importance than the ostensible religious subject. From around
1560 his work became vested with a more exaggerated search for novel effects of
light, taking on something of the iridescent coloring of Tintoretto.
had four painter sons who continued his style -- Francesco the Younger
(1549-92), Gerolamo (1566-1621), Giovanni Battista (1553-1613), and Leandro
(1557-1622). Francesco (who committed suicide by throwing himself out of a
window) and Leandro both acquired some distinction and popularity working in
Venice. Jacopo's workshop was a minor industry in Bassano, and his four sons
continued his style into the next century. The work of the family is well
represented in the Museo Civico at Bassano.
altarpiece, representing the Madonna between St James the Greater and St John
the Baptist, was originally executed for the the church at Tomo.
Bassano's Sheep and Lamb anticipated a new genre in painting,
which was to become popular in the 17th century.
late work is known in several other versions. The story is taken from the New
Testament (Matthew 21: 12-13), when Jesus "cast out all them that sold and
bought... overthrew the tables of the moneychangers, and the seats of them that
sold the doves" in the Temple in Jerusalem, invoking divine authority for
doing so. In the distance can be seen the indignant Chief Priests and Scribes,
and also the blind and lame whom Christ healed.
1557, Venezia; d. 1622, Venezia) Italian painter, one of the four sons of
Jacopo Bassano. He worked in the Venetian studio of the family under Francesco,
his elder brother who ran the Venetian branch of the workshop. Francesco
committed suicide a few months after his father's death, then Leandro took over
the workshop. He was the chief portrait painter of the family, and his
portraits are closely allied to those of Tintoretto. Leandro both acquired some
distinction and popularity working in Venice, he was knighted by the Doge in
1595 or 1596 (thereafter he sometimes added 'Eques' to his signature).
Francesco Bassano the Younger (originally Francesco Giambattista
da Ponte) (b. 1559, Bassano; d. 1592, Venezia). Italian painter, eldest son,
pupil and employee of Jacopo Bassano. His first independent work is from 1574.
He ran the Venetian branch of the workshop until committing suicide a few
months after his father's death. Then Leandro took over the workshop.
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