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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BARTOLOMEO VENETO Beatrice d Este oil


Beatrice d Este
Painting ID::  79948
Beatrice d Este
1510s Medium Oil on canvas Dimensions 75 x 56 cm (29.5 x 22 in) cyf
   
   
     

BARTOLOMEO VENETO Alleged portrait of Lucrezia Borgia oil


Alleged portrait of Lucrezia Borgia
Painting ID::  80444
Alleged portrait of Lucrezia Borgia
Date 16th century Medium Oil on canvas cjr
Date_16th_century _ Medium_Oil_on_canvas _ cjr
   
   
     

BARTOLOMEO VENETO Ritratto Di Donna Ebrea Con Gli Attributi Di Joele oil


Ritratto Di Donna Ebrea Con Gli Attributi Di Joele
Painting ID::  82366
Ritratto Di Donna Ebrea Con Gli Attributi Di Joele
Ritratto Di Donna Ebrea Con Gli Attributi Di Joele cyf
Ritratto_Di_Donna_Ebrea_Con_Gli_Attributi_Di_Joele cyf
   
   
     

BARTOLOMEO VENETO Ritratto Di Gentildonna oil


Ritratto Di Gentildonna
Painting ID::  83511
Ritratto Di Gentildonna
Notes Cat. 39 cyf
Notes_Cat._39 _cyf
   
   
     

BARTOLOMEO VENETO The Timken Art Gallery oil


The Timken Art Gallery
Painting ID::  83517
The Timken Art Gallery
The Timken Art Gallery cyf
The_Timken_Art_Gallery_ cyf
   
   
     

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     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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