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80444

Alleged portrait of Lucrezia Borgia

Date 16th century Medium Oil on canvas cjr

84720

Alleged portrait of Lucrezia Borgia

16th century Medium Oil on canvas cyf

79948

Beatrice d Este

1510s Medium Oil on canvas Dimensions 75 x 56 cm (29.5 x 22 in) cyf

79192

Beatrice dEste

1510s Medium Oil on canvas Dimensions 75 x 56 cm (29.5 x 22 in) cyf

83681

Cleveland Museum of Art

Cleveland Museum of Art

73294

John the Baptist

John the Baptist cjr

75024

John the Baptist

John the Baptist Date 16th century cyf

63841

Portrait of a Gentleman

1512 Oil on panel, 73 x 58 cm Galleria Nazionale d'Arte Antica, Rome Earlier this picture was described as a work of Leonardo. Later, the panel was attributed to Holbein. Finally, of exceptionally high quality, the painting was given to Bartolomeo Veneto by comparing it to two other portraits by the same painter, now at Houston and Washington. The proposed dating is the second decade of the sixteenth century (perhaps 1512), in the wake of Bartolomeo's sojourn in Ferrara between 1506 and 1508. Bartolomeo Veneto (Bartolommeo Veneziano) attracted attention at the end of the 19th century. He was a pupil of Gentile Bellini, he worked at the Court of the Grand Duke of Ferrara and elsewhere. There he came under the influence of LOmbard artists. The artist enriched his original Venetian pictorial language with direct exposure to the influence of Albrecht D?rer, who had been active in Venice in the first years of the sixteenth century. The figures of the knight and the soldier, visible in the background, are literally copied from a 1496 woodcut by D?rer. The identity of the sitter, however, remains a mystery. We do know, however, that he must have been a gentleman attached to the Mantuan court of the Gonzagas. Recently, it was suggested that Bartolomeo Veneto may have been the talented portraitist working in Raphael's workshop who was responsible for the faces of the chair-bearers in the Vatican Palace's Mass of Bolsena. Several inscriptions are legible in the painting: on the medal of the sitter's beret is written "Probasti e Chognovisti"; on the placard above the animal on the medal are the Greek letters epsilon and tau; and along the edge of the plaquette that decorates the sword handle, "IN(?) B:VF" and "NO SPI(E)".Artist:BARTOLOMEO VENETO Title: Portrait of a Gentleman Painted in 1501-1550 , Italian - - painting : portrait

75161

Portrait of a Lady in a Green Dress

1530 Oil on panel 33-7/8 x 26-5/8 in. cjr

76991

Portrait of a Lady in a Green Dress

Date 1530 Medium Oil on panel Dimensions 33-7/8 x 26-5/8 in. cyf

40285

Portrait of a Woman

mk156 Oil on panel 43.5x34.3cm

97208

Portrait of a Woman

between 1520(1520) and 1525(1525) Medium tempera and oil on poplar wood cyf

4950

Portrait of a Woman kki

Oil on wood, 43,5 x 34,3 cm Städelsches Kunstinstitut, Frankfurt

43052

Portrait of Ludovico Martinengo

mk170 dated 1530 June 16 Oil on wood 105.4x71.1cm

79424

Ritratto Di Donna Ebrea Con Gli Attributi Di Joele

Ritratto Di Donna Ebrea Con Gli Attributi Di Joele. cjr

82366

Ritratto Di Donna Ebrea Con Gli Attributi Di Joele

Ritratto Di Donna Ebrea Con Gli Attributi Di Joele cyf

83511

Ritratto Di Gentildonna

Notes Cat. 39 cyf

79736

Ritratto Di Giovane Gentiluomo

The Cleveland Museum of Art cjr

58337

san giovanni battita

mk261 years 1510 -1520 Venice oil painting on canvas 65.5 x 40 cm Florence.

44303

St Nicholas of Bari

Oil on canvas

83517

The Timken Art Gallery

The Timken Art Gallery cyf

52247

Woman Playing a Lu

1520 Oil on panel, 65 x 50 cm

63540

Woman Playing a Lute

1520 Oil on panel, 65 x 50 cm Pinacoteca di Brera, Milan The date appears on the paper below the lute: 1520. A replica, perhaps by the artist himself, is in the Gardner Museum, Boston. The woman is represented in the guise of St Cecilia, a typical example of sixteenth-century "court art." In fact the artist worked for three years at Ferrara for Lucrezia Borgia. Bartolomeo's formation derives from Cima da Conegliano and the later work of Bellini, with influences from Leonardo, Costa and northern European art. His signature on a painting that was formerly in the Dona delle Rose collection in Venice shows how aware he was of his mixed development: "Bartolamio half Venetian and half Cremonese." He liked to paint half-figures of women, and chose subjects with strong personalities.Artist:BARTOLOMEO VENETO Title: Woman Playing a Lute Painted in 1501-1550 , Italian - - painting : genre

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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