Las óleos de todo Bartolomeo Montagna
ID Image  Painting (From A to Z)       Details 
20080  
Bartolomeo Montagna, Ecce Homo (mk05)
  		 Ecce Homo (mk05)   Wood 21 1/2 x 17''(55 x 43 cm)Entered the Louvre in 1863
91758  
Bartolomeo Montagna, Madonna and Child Enthroned with Saints
  		 Madonna and Child Enthroned with Saints   Oil on canvas, 410 x 260 cm Pinacoteca di Brera, Milan Date 1498(1498) cjr
93671  
Bartolomeo Montagna, Madonna and Child under a Pergola with St John the Baptist and St Onofrius
  		 Madonna and Child under a Pergola with St John the Baptist and St Onofrius   between 1488(1488) and 1489(1489) Medium Oil on canvas transferred from wood Dimensions Height: 196 cm (77.2 in). Width: 160 cm (63 in). cjr
42912  
Bartolomeo Montagna, The Virgin and Child
  		 The Virgin and Child   mk170 1485-1490 Tempera with oil on wood 64.8x54.6cm
Bartolomeo Montagna
Orzinuovi ca 1450-Vicenza 1523 .Painter and draughtsman. Montagna is first documented in 1459 in Vicenza as a minor and, still a minor, in 1467. In 1469 he is recorded as a resident of Venice. In 1474 he was living in Vicenza where, in 1476 and 1478, he was commissioned to paint altarpieces (now lost). He has variously been considered a pupil of Andrea Mantegna (Vasari), Giovanni Bellini, Antonello da Messina, Alvise Vivarini, Domenico Morone and Vittore Carpaccio. While none of these artists, except Carpaccio, was irrelevant to Montagna's stylistic formation, scholars agree that Giovanni Bellini was the primary influence on his art. He may have worked in Bellini's shop around 1470. Several of Montagna's paintings of the Virgin and Child in which the influence of Antonello da Messina is especially marked (e.g. two in Belluno, Mus. Civ.; London, N.G., see Davies, no. 802) are likely to be close in date to Antonello's sojourn in Venice (1475-6); they are therefore best considered Montagna's earliest extant works (Gilbert, 1967) rather than as an unexplained parenthesis around 1485 between two Bellinesque phases (Puppi, 1962). These early paintings appear to be followed by others in which the geometrically rounded forms derived from Antonello become more slender and sharper-edged. Their figures are imbued with a deeply felt, individual humanity, sometimes austere and minatory, sometimes tender. Among them are some larger-scale works,



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