Las óleos de todo BASCHENIS, Evaristo
ID Image  Painting (From A to Z)       Details 
4953  
BASCHENIS, Evaristo, Musical Instruments
  		 Musical Instruments   Oil on canvas, 98,5 x 147 cm Mus??es Royaux des Beaux-Arts, Brussels
21547  
BASCHENIS, Evaristo, Still Life with Musical Insteruments (mk08)
  		 Still Life with Musical Insteruments (mk08)   c.1650 Oil on canvas, 115x160cm Bergamo,Galleria dell'Accademia Carrara
4955  
BASCHENIS, Evaristo, Still-life with Instruments ll
  		 Still-life with Instruments ll   1667-77 Oil on canvas, 108 x 153 cm Gallerie dell'Accademia, Venice
4954  
BASCHENIS, Evaristo, Still-Life with Musical Instruments
  		 Still-Life with Musical Instruments   c. 1650 Oil on canvas, 97 x 147 cm Pinacoteca di Brera, Milan
32253  
BASCHENIS, Evaristo, Still-life with Musical Instruments
  		 Still-life with Musical Instruments   c. 1650 Oil on canvas, 115 x 160 cm
18863  
BASCHENIS, Evaristo, Still-Life with Musical Instruments 01
  		 Still-Life with Musical Instruments 01   undated, oil on canvas, Pinacoteca di Brera, Milan
4956  
BASCHENIS, Evaristo, Still-Life with Musical Instruments and a Small Classical Statue www
  		 Still-Life with Musical Instruments and a Small Classical Statue www   c. 1645 Oil on canvas Accademia Carrara, Bergamo
BASCHENIS, Evaristo
Italian Baroque Era Painter, 1617-1677 Evaristo Baschenis (December 7, 1617 ?C March 16, 1677) was an Italian Baroque painter of the 17th century, active mainly around his native city of Bergamo. He was born to a family of artists. He is best known for still lifes, most commonly of musical instruments. This could explain his friendship with a family with notable violin makers from Cremona. Still-life depictiona were uncommon as a thematic among Italian painters prior to the 17th century. Baschenis, along with the more eccentric 16th century painter Milanese Arcimboldo, represents provincial outputs with idiosyncratic tendencies that appear to appeal to the discernment of forms and shapes rather than grand manner themes of religious or mythologic events. For Arcimboldo, the artifice is everything; for Baschenis, the items, man-made musical instruments, have a purpose and a beauty even in their silent geometry. One source for his photographic style of still life could be Caravaggio's early painting of peaches, or alternatively, Dutch paintings. The most faithful imitator of his style is a younger contemporary Bergamese, Bartolomeo Bettera. Baschenis is a contemporary of the Bergamese portrait artist, Carlo Ceresa, and appears to have been influential for the Modenese artist Cristoforo Munari.



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