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The monthly series

According to the statements of the Venetian historian Carlo Ridolfi (1648), a series of paintings representing the twelve months was sent to Rudolf in Prague: It is very likely that the works exhibited here are just those which belonged to the Emperor. The paintings correspond to the refined taste of an aristocratic authority: The high decorative value, the grandiosity of the iconographic program and sizeable dimensions suggest that they were intended for a great room.

In the inventory of the Archduke Leopold Wilhelm are to be found the twelve paintings recorded as works of the young Bassano: almost all are signed and have been created by Leandro towards the end of the nineties of the 16th century. The series has been preserved almost completely, and so we can still enjoy the unity of style and content. September and October are located in Prague, December is not yet reappeared. The image representing July was cut into two parts, probably for decorative considerations, but both fragments are preserved in Vienna.

The lovely hills surrounding Bassano provides the ambience in which take place the field works characterizing the respective month. The winter months of January, February and March, however - they represent a break in the rural task list - show other subjects: the return from the hunt, the carnival and a market scene. Each month is also provided with the corresponding sign of the zodiac, which appears in the middle of the clouds. The composition, wrapped in a dusky light, develops as parallel image into the landscape: the horizon forms the bluish massive of the mountain - probably the Monte Grappa - where the eye can rest.

Leandro describes the activities of the figures with great precision and carefulness in the reproduction of the details, from the working tools, en passant, the objects up to the clothes, so that the paintings in addition also represent a considerable documentary value. The artist intends to entertain the viewer in a pleasant manner and to dispel. Probably recognized some people themselves in the episodes again: for instance, in the richly-dressed lady who had served herself crops, or in the landlord who controls with his steward the works and the harvest. The monthly cycle, which has its roots in the fertile iconographic tradition of the Middle Ages, acquires in the interpretation of Leandros the character of a lively illustrated calendar, which is aimed at an aristocratic clientele.

 

The family of painters Bassano

Bassano, a small city, situated on the slopes of Monte Grappa in the northern Veneto, gave the family of painters Da Ponte not only the nickname, but also the fundamental inspirations for the art of the head of family Jacopo and his sons.

Jacopo Bassano was primarily active in the province, far away from the urban artists' centers, and is now considered one of the great masters of Venetian painting of the Cinquecento to the side of Titian, Veronese and Tintoretto. His fame he owes, i.a., the invention of a subject type, linking the pastoral scenes with biblical or allegorical motifs: for this reason he realized completely new and original compositions, enjoying such great popularity that the heirs of Jacopo continued to produce such paintings until the middle of the Seicento and beyond. Leandro, after Francesco the most gifted of the sons, was an irreplaceable support for the father in the workshop operation. With its vibrant and brilliant colors, he continued the fame of the Bassano family into the new century and has been, as a consequence, very successful, especially in the field of portraiture.

 

Die Malerfamilie Bassano

Bassano, eine kleine, an den Hängen des Monte Grappa im nördlichen Veneto gelegene Stadt, gab der Malerfamilie Da Ponte nicht nur den Beinamen, sondern auch grundlegende Anregungen für die Kunst des Familienoberhauptes Jacopo und seiner Söhne.

Jacopo Bassano war vornehmlich in der Provinz aktiv, weit entfernt von den städtischen Künstlerzentren, und gilt heute als einer der großen Meister der venezianischen Malerei des Cinquecento an der Seite von Tizian, Veronese und Tintoretto. Seinen Ruhm verdankt er unter anderem der Erfindung eines Sujettypus, der die Pastoralszenen mit biblischen oder allegorischen Motiven verknüpfte: Er realisierte damit völlig neuartige und originelle Kompositionen, die so große Beliebtheit genossen, dass die Erben Jacopos derartige Gemälde bis über die Mitte des Seicento hinaus weiterproduzierten. Leandro, nach Francesco der begabteste der Söhne, war für den Vater im Werkstattbetrieb eine unersetzliche Stütze. Mit seiner lebendigen und brillanten Farbgebung setzte er den Ruhm der Familie Bassano bis ins neue Jahrhundert fort und war in der Folge vor allem auf dem Gebiet der Portraitmalerei sehr erfolgreich.

 

Die Monatsserie

Gemäß den Aussagen des venezianischen Historikers Carlo Ridolfi (1648) wurde eine die zwölf Monate darstellende Gemäldeserie an Rudolf II. nach Prag gesandt: Es ist sehr wahrscheinlich, dass die hier ausgestellten Werke eben jene sind, die dem Kaiser gehörten. Die Gemälde entsprechen dem raffinierten Geschmack eines aristokratischen Auftraggebers: Der hohe dekorative Wert, die Grandiosität des ikonographischen Programms und die ansehnlichen Dimensionen lassen vermuten, dass sie für einen großen Raum gedacht waren.

Im Inventar des Erzherzogs Leopold Wilhelm finden sich die zwölf Gemälde als Werke des jungen Bassano verzeichnet: Fast alle sind signiert und wurden von Leandro gegen Ende der neunziger Jahre des 16. Jahrhunderts geschaffen. Die Serie ist fast zur Gänze erhalten geblieben, und so können wir uns auch heute noch an der Einheit von Stil und Inhalt erfreuen. Der September und der Oktober befinden sich in Prag; der Dezember ist noch nicht wieder aufgetaucht. Das Bild, das den Juli darstellt, wurde in zwei Teile geschnitten, wohl aus dekorativen Überlegungen, aber beide Fragmente sind in Wien erhalten.

Die liebliche Hügellandschaft um Bassano liefert das Ambiente, in dem sich die den jeweiligen Monat charakterisierenden Landarbeiten abspielen. Die Wintermonate Januar, Februar und März hingegen - sie stellen eine Ruhepause in der ländlichen Arbeit dar - zeigen andere Sujets: die Rückkehr von der Jagd, den Karneval und eine Marktszene. Jeder Monat ist zudem mit dem entsprechenden Tierkreiszeichen versehen, das inmitten der Wolken erscheint. Die Komposition, in ein dämmriges Licht gehüllt, entwickelt sich bildparallel in die Landschaft hinein: Den Horizont bildet das bläuliche Massive des Gebirges - wahrscheinlich der Monte Grappa -, wo das Auge Ruhe findet.

Leandro beschreibt die Tätigkeiten der Figuren mit großer Präzision und Sorgfalt in der Wiedergabe der Details, von den Arbeitswerkzeugen über die Gegenstände bis hin zur Kleidung, sodaß die Gemälde zusätzlich auch einen beträchtlichen dokumentarischen Wert repräsentieren. Der Künstler beabsichtigt, den Betrachter in angenehmer Weise zu unterhalten und zu zerstreuen. Wahrscheinlich erkannte sich so mancher in den Episoden wieder: Etwa in der reich gekleideten Dame, die sich Feldfrüchte vorlegen läßt, oder im Grundherrn, der zusammen mit seinem Gutsverwalter die Arbeiten und die Ernte kontrolliert. Der Monatszyklus, der seine Wurzeln in der fruchtbaren ikonographischen Tradition des Mittelalters hat, nimmt in der Interpretation Leandros den Charakter eines lebendig illustrierten Kalenders an, der sich an ein aristokratisches Publikum richtet.

The monthly series

According to the statements of the Venetian historian Carlo Ridolfi (1648), a series of paintings representing the twelve months was sent to Rudolf in Prague: It is very likely that the works exhibited here are just those which belonged to the Emperor. The paintings correspond to the refined taste of an aristocratic authority: The high decorative value, the grandiosity of the iconographic program and sizeable dimensions suggest that they were intended for a great room.

In the inventory of the Archduke Leopold Wilhelm are to be found the twelve paintings recorded as works of the young Bassano: almost all are signed and have been created by Leandro towards the end of the nineties of the 16th century. The series has been preserved almost completely, and so we can still enjoy the unity of style and content. September and October are located in Prague, December is not yet reappeared. The image representing July was cut into two parts, probably for decorative considerations, but both fragments are preserved in Vienna.

The lovely hills surrounding Bassano provides the ambience in which take place the field works characterizing the respective month. The winter months of January, February and March, however - they represent a break in the rural task list - show other subjects: the return from the hunt, the carnival and a market scene. Each month is also provided with the corresponding sign of the zodiac, which appears in the middle of the clouds. The composition, wrapped in a dusky light, develops as parallel image into the landscape: the horizon forms the bluish massive of the mountain - probably the Monte Grappa - where the eye can rest.

Leandro describes the activities of the figures with great precision and carefulness in the reproduction of the details, from the working tools, en passant, the objects up to the clothes, so that the paintings in addition also represent a considerable documentary value. The artist intends to entertain the viewer in a pleasant manner and to dispel. Probably recognized some people themselves in the episodes again: for instance, in the richly-dressed lady who had served herself crops, or in the landlord who controls with his steward the works and the harvest. The monthly cycle, which has its roots in the fertile iconographic tradition of the Middle Ages, acquires in the interpretation of Leandros the character of a lively illustrated calendar, which is aimed at an aristocratic clientele.

 

The family of painters Bassano

Bassano, a small city, situated on the slopes of Monte Grappa in the northern Veneto, gave the family of painters Da Ponte not only the nickname, but also the fundamental inspirations for the art of the head of family Jacopo and his sons.

Jacopo Bassano was primarily active in the province, far away from the urban artists' centers, and is now considered one of the great masters of Venetian painting of the Cinquecento to the side of Titian, Veronese and Tintoretto. His fame he owes, i.a., the invention of a subject type, linking the pastoral scenes with biblical or allegorical motifs: for this reason he realized completely new and original compositions, enjoying such great popularity that the heirs of Jacopo continued to produce such paintings until the middle of the Seicento and beyond. Leandro, after Francesco the most gifted of the sons, was an irreplaceable support for the father in the workshop operation. With its vibrant and brilliant colors, he continued the fame of the Bassano family into the new century and has been, as a consequence, very successful, especially in the field of portraiture.

 

Die Malerfamilie Bassano

Bassano, eine kleine, an den Hängen des Monte Grappa im nördlichen Veneto gelegene Stadt, gab der Malerfamilie Da Ponte nicht nur den Beinamen, sondern auch grundlegende Anregungen für die Kunst des Familienoberhauptes Jacopo und seiner Söhne.

Jacopo Bassano war vornehmlich in der Provinz aktiv, weit entfernt von den städtischen Künstlerzentren, und gilt heute als einer der großen Meister der venezianischen Malerei des Cinquecento an der Seite von Tizian, Veronese und Tintoretto. Seinen Ruhm verdankt er unter anderem der Erfindung eines Sujettypus, der die Pastoralszenen mit biblischen oder allegorischen Motiven verknüpfte: Er realisierte damit völlig neuartige und originelle Kompositionen, die so große Beliebtheit genossen, dass die Erben Jacopos derartige Gemälde bis über die Mitte des Seicento hinaus weiterproduzierten. Leandro, nach Francesco der begabteste der Söhne, war für den Vater im Werkstattbetrieb eine unersetzliche Stütze. Mit seiner lebendigen und brillanten Farbgebung setzte er den Ruhm der Familie Bassano bis ins neue Jahrhundert fort und war in der Folge vor allem auf dem Gebiet der Portraitmalerei sehr erfolgreich.

 

Die Monatsserie

Gemäß den Aussagen des venezianischen Historikers Carlo Ridolfi (1648) wurde eine die zwölf Monate darstellende Gemäldeserie an Rudolf II. nach Prag gesandt: Es ist sehr wahrscheinlich, dass die hier ausgestellten Werke eben jene sind, die dem Kaiser gehörten. Die Gemälde entsprechen dem raffinierten Geschmack eines aristokratischen Auftraggebers: Der hohe dekorative Wert, die Grandiosität des ikonographischen Programms und die ansehnlichen Dimensionen lassen vermuten, dass sie für einen großen Raum gedacht waren.

Im Inventar des Erzherzogs Leopold Wilhelm finden sich die zwölf Gemälde als Werke des jungen Bassano verzeichnet: Fast alle sind signiert und wurden von Leandro gegen Ende der neunziger Jahre des 16. Jahrhunderts geschaffen. Die Serie ist fast zur Gänze erhalten geblieben, und so können wir uns auch heute noch an der Einheit von Stil und Inhalt erfreuen. Der September und der Oktober befinden sich in Prag; der Dezember ist noch nicht wieder aufgetaucht. Das Bild, das den Juli darstellt, wurde in zwei Teile geschnitten, wohl aus dekorativen Überlegungen, aber beide Fragmente sind in Wien erhalten.

Die liebliche Hügellandschaft um Bassano liefert das Ambiente, in dem sich die den jeweiligen Monat charakterisierenden Landarbeiten abspielen. Die Wintermonate Januar, Februar und März hingegen - sie stellen eine Ruhepause in der ländlichen Arbeit dar - zeigen andere Sujets: die Rückkehr von der Jagd, den Karneval und eine Marktszene. Jeder Monat ist zudem mit dem entsprechenden Tierkreiszeichen versehen, das inmitten der Wolken erscheint. Die Komposition, in ein dämmriges Licht gehüllt, entwickelt sich bildparallel in die Landschaft hinein: Den Horizont bildet das bläuliche Massive des Gebirges - wahrscheinlich der Monte Grappa -, wo das Auge Ruhe findet.

Leandro beschreibt die Tätigkeiten der Figuren mit großer Präzision und Sorgfalt in der Wiedergabe der Details, von den Arbeitswerkzeugen über die Gegenstände bis hin zur Kleidung, sodaß die Gemälde zusätzlich auch einen beträchtlichen dokumentarischen Wert repräsentieren. Der Künstler beabsichtigt, den Betrachter in angenehmer Weise zu unterhalten und zu zerstreuen. Wahrscheinlich erkannte sich so mancher in den Episoden wieder: Etwa in der reich gekleideten Dame, die sich Feldfrüchte vorlegen läßt, oder im Grundherrn, der zusammen mit seinem Gutsverwalter die Arbeiten und die Ernte kontrolliert. Der Monatszyklus, der seine Wurzeln in der fruchtbaren ikonographischen Tradition des Mittelalters hat, nimmt in der Interpretation Leandros den Charakter eines lebendig illustrierten Kalenders an, der sich an ein aristokratisches Publikum richtet.

The monthly series

According to the statements of the Venetian historian Carlo Ridolfi (1648), a series of paintings representing the twelve months was sent to Rudolf in Prague: It is very likely that the works exhibited here are just those which belonged to the Emperor. The paintings correspond to the refined taste of an aristocratic authority: The high decorative value, the grandiosity of the iconographic program and sizeable dimensions suggest that they were intended for a great room.

In the inventory of the Archduke Leopold Wilhelm are to be found the twelve paintings recorded as works of the young Bassano: almost all are signed and have been created by Leandro towards the end of the nineties of the 16th century. The series has been preserved almost completely, and so we can still enjoy the unity of style and content. September and October are located in Prague, December is not yet reappeared. The image representing July was cut into two parts, probably for decorative considerations, but both fragments are preserved in Vienna.

The lovely hills surrounding Bassano provides the ambience in which take place the field works characterizing the respective month. The winter months of January, February and March, however - they represent a break in the rural task list - show other subjects: the return from the hunt, the carnival and a market scene. Each month is also provided with the corresponding sign of the zodiac, which appears in the middle of the clouds. The composition, wrapped in a dusky light, develops as parallel image into the landscape: the horizon forms the bluish massive of the mountain - probably the Monte Grappa - where the eye can rest.

Leandro describes the activities of the figures with great precision and carefulness in the reproduction of the details, from the working tools, en passant, the objects up to the clothes, so that the paintings in addition also represent a considerable documentary value. The artist intends to entertain the viewer in a pleasant manner and to dispel. Probably recognized some people themselves in the episodes again: for instance, in the richly-dressed lady who had served herself crops, or in the landlord who controls with his steward the works and the harvest. The monthly cycle, which has its roots in the fertile iconographic tradition of the Middle Ages, acquires in the interpretation of Leandros the character of a lively illustrated calendar, which is aimed at an aristocratic clientele.

 

The family of painters Bassano

Bassano, a small city, situated on the slopes of Monte Grappa in the northern Veneto, gave the family of painters Da Ponte not only the nickname, but also the fundamental inspirations for the art of the head of family Jacopo and his sons.

Jacopo Bassano was primarily active in the province, far away from the urban artists' centers, and is now considered one of the great masters of Venetian painting of the Cinquecento to the side of Titian, Veronese and Tintoretto. His fame he owes, i.a., the invention of a subject type, linking the pastoral scenes with biblical or allegorical motifs: for this reason he realized completely new and original compositions, enjoying such great popularity that the heirs of Jacopo continued to produce such paintings until the middle of the Seicento and beyond. Leandro, after Francesco the most gifted of the sons, was an irreplaceable support for the father in the workshop operation. With its vibrant and brilliant colors, he continued the fame of the Bassano family into the new century and has been, as a consequence, very successful, especially in the field of portraiture.

 

Die Malerfamilie Bassano

Bassano, eine kleine, an den Hängen des Monte Grappa im nördlichen Veneto gelegene Stadt, gab der Malerfamilie Da Ponte nicht nur den Beinamen, sondern auch grundlegende Anregungen für die Kunst des Familienoberhauptes Jacopo und seiner Söhne.

Jacopo Bassano war vornehmlich in der Provinz aktiv, weit entfernt von den städtischen Künstlerzentren, und gilt heute als einer der großen Meister der venezianischen Malerei des Cinquecento an der Seite von Tizian, Veronese und Tintoretto. Seinen Ruhm verdankt er unter anderem der Erfindung eines Sujettypus, der die Pastoralszenen mit biblischen oder allegorischen Motiven verknüpfte: Er realisierte damit völlig neuartige und originelle Kompositionen, die so große Beliebtheit genossen, dass die Erben Jacopos derartige Gemälde bis über die Mitte des Seicento hinaus weiterproduzierten. Leandro, nach Francesco der begabteste der Söhne, war für den Vater im Werkstattbetrieb eine unersetzliche Stütze. Mit seiner lebendigen und brillanten Farbgebung setzte er den Ruhm der Familie Bassano bis ins neue Jahrhundert fort und war in der Folge vor allem auf dem Gebiet der Portraitmalerei sehr erfolgreich.

 

Die Monatsserie

Gemäß den Aussagen des venezianischen Historikers Carlo Ridolfi (1648) wurde eine die zwölf Monate darstellende Gemäldeserie an Rudolf II. nach Prag gesandt: Es ist sehr wahrscheinlich, dass die hier ausgestellten Werke eben jene sind, die dem Kaiser gehörten. Die Gemälde entsprechen dem raffinierten Geschmack eines aristokratischen Auftraggebers: Der hohe dekorative Wert, die Grandiosität des ikonographischen Programms und die ansehnlichen Dimensionen lassen vermuten, dass sie für einen großen Raum gedacht waren.

Im Inventar des Erzherzogs Leopold Wilhelm finden sich die zwölf Gemälde als Werke des jungen Bassano verzeichnet: Fast alle sind signiert und wurden von Leandro gegen Ende der neunziger Jahre des 16. Jahrhunderts geschaffen. Die Serie ist fast zur Gänze erhalten geblieben, und so können wir uns auch heute noch an der Einheit von Stil und Inhalt erfreuen. Der September und der Oktober befinden sich in Prag; der Dezember ist noch nicht wieder aufgetaucht. Das Bild, das den Juli darstellt, wurde in zwei Teile geschnitten, wohl aus dekorativen Überlegungen, aber beide Fragmente sind in Wien erhalten.

Die liebliche Hügellandschaft um Bassano liefert das Ambiente, in dem sich die den jeweiligen Monat charakterisierenden Landarbeiten abspielen. Die Wintermonate Januar, Februar und März hingegen - sie stellen eine Ruhepause in der ländlichen Arbeit dar - zeigen andere Sujets: die Rückkehr von der Jagd, den Karneval und eine Marktszene. Jeder Monat ist zudem mit dem entsprechenden Tierkreiszeichen versehen, das inmitten der Wolken erscheint. Die Komposition, in ein dämmriges Licht gehüllt, entwickelt sich bildparallel in die Landschaft hinein: Den Horizont bildet das bläuliche Massive des Gebirges - wahrscheinlich der Monte Grappa -, wo das Auge Ruhe findet.

Leandro beschreibt die Tätigkeiten der Figuren mit großer Präzision und Sorgfalt in der Wiedergabe der Details, von den Arbeitswerkzeugen über die Gegenstände bis hin zur Kleidung, sodaß die Gemälde zusätzlich auch einen beträchtlichen dokumentarischen Wert repräsentieren. Der Künstler beabsichtigt, den Betrachter in angenehmer Weise zu unterhalten und zu zerstreuen. Wahrscheinlich erkannte sich so mancher in den Episoden wieder: Etwa in der reich gekleideten Dame, die sich Feldfrüchte vorlegen läßt, oder im Grundherrn, der zusammen mit seinem Gutsverwalter die Arbeiten und die Ernte kontrolliert. Der Monatszyklus, der seine Wurzeln in der fruchtbaren ikonographischen Tradition des Mittelalters hat, nimmt in der Interpretation Leandros den Charakter eines lebendig illustrierten Kalenders an, der sich an ein aristokratisches Publikum richtet.

The monthly series

According to the statements of the Venetian historian Carlo Ridolfi (1648), a series of paintings representing the twelve months was sent to Rudolf in Prague: It is very likely that the works exhibited here are just those which belonged to the Emperor. The paintings correspond to the refined taste of an aristocratic authority: The high decorative value, the grandiosity of the iconographic program and sizeable dimensions suggest that they were intended for a great room.

In the inventory of the Archduke Leopold Wilhelm are to be found the twelve paintings recorded as works of the young Bassano: almost all are signed and have been created by Leandro towards the end of the nineties of the 16th century. The series has been preserved almost completely, and so we can still enjoy the unity of style and content. September and October are located in Prague, December is not yet reappeared. The image representing July was cut into two parts, probably for decorative considerations, but both fragments are preserved in Vienna.

The lovely hills surrounding Bassano provides the ambience in which take place the field works characterizing the respective month. The winter months of January, February and March, however - they represent a break in the rural task list - show other subjects: the return from the hunt, the carnival and a market scene. Each month is also provided with the corresponding sign of the zodiac, which appears in the middle of the clouds. The composition, wrapped in a dusky light, develops as parallel image into the landscape: the horizon forms the bluish massive of the mountain - probably the Monte Grappa - where the eye can rest.

Leandro describes the activities of the figures with great precision and carefulness in the reproduction of the details, from the working tools, en passant, the objects up to the clothes, so that the paintings in addition also represent a considerable documentary value. The artist intends to entertain the viewer in a pleasant manner and to dispel. Probably recognized some people themselves in the episodes again: for instance, in the richly-dressed lady who had served herself crops, or in the landlord who controls with his steward the works and the harvest. The monthly cycle, which has its roots in the fertile iconographic tradition of the Middle Ages, acquires in the interpretation of Leandros the character of a lively illustrated calendar, which is aimed at an aristocratic clientele.

 

The family of painters Bassano

Bassano, a small city, situated on the slopes of Monte Grappa in the northern Veneto, gave the family of painters Da Ponte not only the nickname, but also the fundamental inspirations for the art of the head of family Jacopo and his sons.

Jacopo Bassano was primarily active in the province, far away from the urban artists' centers, and is now considered one of the great masters of Venetian painting of the Cinquecento to the side of Titian, Veronese and Tintoretto. His fame he owes, i.a., the invention of a subject type, linking the pastoral scenes with biblical or allegorical motifs: for this reason he realized completely new and original compositions, enjoying such great popularity that the heirs of Jacopo continued to produce such paintings until the middle of the Seicento and beyond. Leandro, after Francesco the most gifted of the sons, was an irreplaceable support for the father in the workshop operation. With its vibrant and brilliant colors, he continued the fame of the Bassano family into the new century and has been, as a consequence, very successful, especially in the field of portraiture.

 

Die Malerfamilie Bassano

Bassano, eine kleine, an den Hängen des Monte Grappa im nördlichen Veneto gelegene Stadt, gab der Malerfamilie Da Ponte nicht nur den Beinamen, sondern auch grundlegende Anregungen für die Kunst des Familienoberhauptes Jacopo und seiner Söhne.

Jacopo Bassano war vornehmlich in der Provinz aktiv, weit entfernt von den städtischen Künstlerzentren, und gilt heute als einer der großen Meister der venezianischen Malerei des Cinquecento an der Seite von Tizian, Veronese und Tintoretto. Seinen Ruhm verdankt er unter anderem der Erfindung eines Sujettypus, der die Pastoralszenen mit biblischen oder allegorischen Motiven verknüpfte: Er realisierte damit völlig neuartige und originelle Kompositionen, die so große Beliebtheit genossen, dass die Erben Jacopos derartige Gemälde bis über die Mitte des Seicento hinaus weiterproduzierten. Leandro, nach Francesco der begabteste der Söhne, war für den Vater im Werkstattbetrieb eine unersetzliche Stütze. Mit seiner lebendigen und brillanten Farbgebung setzte er den Ruhm der Familie Bassano bis ins neue Jahrhundert fort und war in der Folge vor allem auf dem Gebiet der Portraitmalerei sehr erfolgreich.

 

Die Monatsserie

Gemäß den Aussagen des venezianischen Historikers Carlo Ridolfi (1648) wurde eine die zwölf Monate darstellende Gemäldeserie an Rudolf II. nach Prag gesandt: Es ist sehr wahrscheinlich, dass die hier ausgestellten Werke eben jene sind, die dem Kaiser gehörten. Die Gemälde entsprechen dem raffinierten Geschmack eines aristokratischen Auftraggebers: Der hohe dekorative Wert, die Grandiosität des ikonographischen Programms und die ansehnlichen Dimensionen lassen vermuten, dass sie für einen großen Raum gedacht waren.

Im Inventar des Erzherzogs Leopold Wilhelm finden sich die zwölf Gemälde als Werke des jungen Bassano verzeichnet: Fast alle sind signiert und wurden von Leandro gegen Ende der neunziger Jahre des 16. Jahrhunderts geschaffen. Die Serie ist fast zur Gänze erhalten geblieben, und so können wir uns auch heute noch an der Einheit von Stil und Inhalt erfreuen. Der September und der Oktober befinden sich in Prag; der Dezember ist noch nicht wieder aufgetaucht. Das Bild, das den Juli darstellt, wurde in zwei Teile geschnitten, wohl aus dekorativen Überlegungen, aber beide Fragmente sind in Wien erhalten.

Die liebliche Hügellandschaft um Bassano liefert das Ambiente, in dem sich die den jeweiligen Monat charakterisierenden Landarbeiten abspielen. Die Wintermonate Januar, Februar und März hingegen - sie stellen eine Ruhepause in der ländlichen Arbeit dar - zeigen andere Sujets: die Rückkehr von der Jagd, den Karneval und eine Marktszene. Jeder Monat ist zudem mit dem entsprechenden Tierkreiszeichen versehen, das inmitten der Wolken erscheint. Die Komposition, in ein dämmriges Licht gehüllt, entwickelt sich bildparallel in die Landschaft hinein: Den Horizont bildet das bläuliche Massive des Gebirges - wahrscheinlich der Monte Grappa -, wo das Auge Ruhe findet.

Leandro beschreibt die Tätigkeiten der Figuren mit großer Präzision und Sorgfalt in der Wiedergabe der Details, von den Arbeitswerkzeugen über die Gegenstände bis hin zur Kleidung, sodaß die Gemälde zusätzlich auch einen beträchtlichen dokumentarischen Wert repräsentieren. Der Künstler beabsichtigt, den Betrachter in angenehmer Weise zu unterhalten und zu zerstreuen. Wahrscheinlich erkannte sich so mancher in den Episoden wieder: Etwa in der reich gekleideten Dame, die sich Feldfrüchte vorlegen läßt, oder im Grundherrn, der zusammen mit seinem Gutsverwalter die Arbeiten und die Ernte kontrolliert. Der Monatszyklus, der seine Wurzeln in der fruchtbaren ikonographischen Tradition des Mittelalters hat, nimmt in der Interpretation Leandros den Charakter eines lebendig illustrierten Kalenders an, der sich an ein aristokratisches Publikum richtet.

The monthly series

According to the statements of the Venetian historian Carlo Ridolfi (1648), a series of paintings representing the twelve months was sent to Rudolf in Prague: It is very likely that the works exhibited here are just those which belonged to the Emperor. The paintings correspond to the refined taste of an aristocratic authority: The high decorative value, the grandiosity of the iconographic program and sizeable dimensions suggest that they were intended for a great room.

In the inventory of the Archduke Leopold Wilhelm are to be found the twelve paintings recorded as works of the young Bassano: almost all are signed and have been created by Leandro towards the end of the nineties of the 16th century. The series has been preserved almost completely, and so we can still enjoy the unity of style and content. September and October are located in Prague, December is not yet reappeared. The image representing July was cut into two parts, probably for decorative considerations, but both fragments are preserved in Vienna.

The lovely hills surrounding Bassano provides the ambience in which take place the field works characterizing the respective month. The winter months of January, February and March, however - they represent a break in the rural task list - show other subjects: the return from the hunt, the carnival and a market scene. Each month is also provided with the corresponding sign of the zodiac, which appears in the middle of the clouds. The composition, wrapped in a dusky light, develops as parallel image into the landscape: the horizon forms the bluish massive of the mountain - probably the Monte Grappa - where the eye can rest.

Leandro describes the activities of the figures with great precision and carefulness in the reproduction of the details, from the working tools, en passant, the objects up to the clothes, so that the paintings in addition also represent a considerable documentary value. The artist intends to entertain the viewer in a pleasant manner and to dispel. Probably recognized some people themselves in the episodes again: for instance, in the richly-dressed lady who had served herself crops, or in the landlord who controls with his steward the works and the harvest. The monthly cycle, which has its roots in the fertile iconographic tradition of the Middle Ages, acquires in the interpretation of Leandros the character of a lively illustrated calendar, which is aimed at an aristocratic clientele.

 

The family of painters Bassano

Bassano, a small city, situated on the slopes of Monte Grappa in the northern Veneto, gave the family of painters Da Ponte not only the nickname, but also the fundamental inspirations for the art of the head of family Jacopo and his sons.

Jacopo Bassano was primarily active in the province, far away from the urban artists' centers, and is now considered one of the great masters of Venetian painting of the Cinquecento to the side of Titian, Veronese and Tintoretto. His fame he owes, i.a., the invention of a subject type, linking the pastoral scenes with biblical or allegorical motifs: for this reason he realized completely new and original compositions, enjoying such great popularity that the heirs of Jacopo continued to produce such paintings until the middle of the Seicento and beyond. Leandro, after Francesco the most gifted of the sons, was an irreplaceable support for the father in the workshop operation. With its vibrant and brilliant colors, he continued the fame of the Bassano family into the new century and has been, as a consequence, very successful, especially in the field of portraiture.

 

Die Malerfamilie Bassano

Bassano, eine kleine, an den Hängen des Monte Grappa im nördlichen Veneto gelegene Stadt, gab der Malerfamilie Da Ponte nicht nur den Beinamen, sondern auch grundlegende Anregungen für die Kunst des Familienoberhauptes Jacopo und seiner Söhne.

Jacopo Bassano war vornehmlich in der Provinz aktiv, weit entfernt von den städtischen Künstlerzentren, und gilt heute als einer der großen Meister der venezianischen Malerei des Cinquecento an der Seite von Tizian, Veronese und Tintoretto. Seinen Ruhm verdankt er unter anderem der Erfindung eines Sujettypus, der die Pastoralszenen mit biblischen oder allegorischen Motiven verknüpfte: Er realisierte damit völlig neuartige und originelle Kompositionen, die so große Beliebtheit genossen, dass die Erben Jacopos derartige Gemälde bis über die Mitte des Seicento hinaus weiterproduzierten. Leandro, nach Francesco der begabteste der Söhne, war für den Vater im Werkstattbetrieb eine unersetzliche Stütze. Mit seiner lebendigen und brillanten Farbgebung setzte er den Ruhm der Familie Bassano bis ins neue Jahrhundert fort und war in der Folge vor allem auf dem Gebiet der Portraitmalerei sehr erfolgreich.

 

Die Monatsserie

Gemäß den Aussagen des venezianischen Historikers Carlo Ridolfi (1648) wurde eine die zwölf Monate darstellende Gemäldeserie an Rudolf II. nach Prag gesandt: Es ist sehr wahrscheinlich, dass die hier ausgestellten Werke eben jene sind, die dem Kaiser gehörten. Die Gemälde entsprechen dem raffinierten Geschmack eines aristokratischen Auftraggebers: Der hohe dekorative Wert, die Grandiosität des ikonographischen Programms und die ansehnlichen Dimensionen lassen vermuten, dass sie für einen großen Raum gedacht waren.

Im Inventar des Erzherzogs Leopold Wilhelm finden sich die zwölf Gemälde als Werke des jungen Bassano verzeichnet: Fast alle sind signiert und wurden von Leandro gegen Ende der neunziger Jahre des 16. Jahrhunderts geschaffen. Die Serie ist fast zur Gänze erhalten geblieben, und so können wir uns auch heute noch an der Einheit von Stil und Inhalt erfreuen. Der September und der Oktober befinden sich in Prag; der Dezember ist noch nicht wieder aufgetaucht. Das Bild, das den Juli darstellt, wurde in zwei Teile geschnitten, wohl aus dekorativen Überlegungen, aber beide Fragmente sind in Wien erhalten.

Die liebliche Hügellandschaft um Bassano liefert das Ambiente, in dem sich die den jeweiligen Monat charakterisierenden Landarbeiten abspielen. Die Wintermonate Januar, Februar und März hingegen - sie stellen eine Ruhepause in der ländlichen Arbeit dar - zeigen andere Sujets: die Rückkehr von der Jagd, den Karneval und eine Marktszene. Jeder Monat ist zudem mit dem entsprechenden Tierkreiszeichen versehen, das inmitten der Wolken erscheint. Die Komposition, in ein dämmriges Licht gehüllt, entwickelt sich bildparallel in die Landschaft hinein: Den Horizont bildet das bläuliche Massive des Gebirges - wahrscheinlich der Monte Grappa -, wo das Auge Ruhe findet.

Leandro beschreibt die Tätigkeiten der Figuren mit großer Präzision und Sorgfalt in der Wiedergabe der Details, von den Arbeitswerkzeugen über die Gegenstände bis hin zur Kleidung, sodaß die Gemälde zusätzlich auch einen beträchtlichen dokumentarischen Wert repräsentieren. Der Künstler beabsichtigt, den Betrachter in angenehmer Weise zu unterhalten und zu zerstreuen. Wahrscheinlich erkannte sich so mancher in den Episoden wieder: Etwa in der reich gekleideten Dame, die sich Feldfrüchte vorlegen läßt, oder im Grundherrn, der zusammen mit seinem Gutsverwalter die Arbeiten und die Ernte kontrolliert. Der Monatszyklus, der seine Wurzeln in der fruchtbaren ikonographischen Tradition des Mittelalters hat, nimmt in der Interpretation Leandros den Charakter eines lebendig illustrierten Kalenders an, der sich an ein aristokratisches Publikum richtet.

Entry into the Ark (detail)

c. 1575-1580

oil on canvas

attributed to Jacopo Bassano with

assistance of Francesco and Leandro Bassano

Italian, 1510-1592

Jacopo Bassano (Jacopo da Ponte); Bassano del Grappa 1510 - 1592

Irdisches Paradies / Earthly Paradise / Paradiso Terrestre (1568 - 76)

 

Jacopo da Ponte wurde in Bassano del Grappe geboren und starb auch dort, so dass man ihn als Jacopo Bassano bezeichnete. Er lebte und arbeitete ausschließlich innerhalb der Republik Venedig und war einer der einflussreichten venezianischen Maler des 16. Jahrhunderts. Viele seiner Gemälde entstanden in Zusammenarbeit mit seinen Söhnen, besonders mit Francesco und Leandro, die auch seinen Malstil im 17. Jahrhundert fortsetzten.

 

Die Szene strahlt ländliche Ruhe aus und zeigt Adam und Eva im Garten Eden umgeben von mehreren Tieren vor einer fernen Hintergrundlandschaft.. Sowohl die Landschaft als auch die realistisch dargestellten Tiere hatten damals innovativen Charakter und sind des Einflüssen der flämischen Malerei geschuldet. Die Figuren von Adam und Eva stammen mit hoher Sicherheit von Jacopo Bassanos Hand, während der Rest des Gemäldes wahrscheinlich von seinem Sohn Francesco ausgeführt wurde.

  

Church of the spinsters Le Zitelle (officially Santa Maria della Presentazione) is a church in Venice, Italy. It is part of a former complex which gave shelter to young maidens ("zitelle" in Italian) who had no dowry, and is located in the easternmost part of the Giudecca island.

Generally attributed to Andrea Palladio, the original design dates to 1579-1580 and the construction to 1586. Its housing edifice surrounds the church in a horseshoe shape, with a court behind the apse. The façade has two orders, surmounted by a tympanum and flanked by two small bell towers. The church has a large dome with a lantern.

The interior is on the central plan. It houses works by Aliense, Leandro Bassano and Palma il Giovane.

The attribution to Andrea Palladio is not without controversy. The Centro Internazionale di Studi di Architettura Andrea Palladio points to a lack of contemporary documents and drawings confirming Palladio's involvement with the project and the fact that construction only started in 1581, one year after Palladio's death. They consider:

History

The church is part of a complex ecclesiastical created by the Jesuit Benedetto Palmi to assist poor girls; at the time those of marriageable age (called "spinsters"), but too poor to have a dowry , often ended to give themselves to prostitution (which at the time of the Republic of Venice was not hampered by the nobles and by the local government); hospice was instead taught them a trade such as sewing or lace so that they could provide for themselves.

Seventeenth-century sources attribute the design of the church architect Andrea Palladio , without, however, that recent research also have been able to find or graphic documentary traces of his intervention: in fact most of the scholars expressed strong doubts about this attribution.

Although the acquisition of a site on the Giudecca dates back to 1561 , the beginning of the work is after the death of Palladio: The first stone was laid in 1581 and the church was consecrated in 1588 . In fact already in 1,575th - in 1576 are documented large purchases of building materials , perhaps intended precisely to the church. On this basis, recent speculations think of a possible Palladian design dating back to the mid- 1570s , but neither the front nor the interior of the church showing characters refer unambiguously to the language Palladian, less than a realization extremely clumsy and infidel.

Description

The facade

The hospice develops a horseshoe around the church, leaving the space behind the ' apse of the church, to a court . The facade of the church has two rows with two windows in the first and a large spa on the second order, higher than the two wings of the hospice is closed by a tympanum . Two small bell towers are arranged symmetrically above the gable and a large dome with a huge lantern close the building.

Inside the facility is centrally located and the room is dominated by the time of the dome. All ' altar left works of ' Aliense : Madonna and Child with St. Francis and the prosecutor Federico Contarini .

Altar Presentation in the Temple of Leandro Bassano .

Right of the altar, a work Palma il Giovane , Agony in the Garden and clients .

Some choruses with direct access to hospice highlight the close relationship of the church with the structure.

  

Ville de KorčulaKorčula (en italien Curzola) a été fondée par les Grecs au IVe siècle av. J.-C. (Corcyra Melaina). La forteresse de la ville, ce joyau construit avec des pierres provenant de l'île voisine, Vrnik, a pris sa forme actuelle aux XIVe et XVe siècles. Les œuvres d'artistes illustres de la culture croate, comme Marko Andrijić, Blaž Jurjev Trogiranin, Ivan Progonović, voisinent avec celles du Tintoret, de Tiziano Aspetti, de Leandro Bassano et d'autres encore. Avec les collections d'objets d'arts, elles ornent la ville. Ce fut un parcours historique long et passionnant, qui conduisit jusqu'à aujourd'hui, Korčula, la ville et l'île de la mer Adriatique.

 

En quittant la ville de Korčula, véritable musée en plein air et lieu de naissance de Marco Polo, on trouve la riche verdure de l'île, les villages de viticulteurs, de producteurs d'huile d'olive et de pêcheurs. Les produits les plus renommés de l'île sont les vins - rouge fougueux (Plavac) et blancs enjôleurs (Pošip, Grk et Rukatac) – et l'huile d'olive pressée comme autrefois. Dans la soirée, après une baignade dans une eau claire et tempérée qui entoure les cinquante îles et îlots de l'archipel de Korčula, les visiteurs de tous les horizons peuvent apprécier les danses de combat d'épées, Moreška et Kumpanija, souvenirs des siècles passés.

 

Aujourd'hui, Korčula est l'île la plus peuplée de Croatie, une île de gens joyeux et bons vivants. Cela fait plus de 100 ans que les visiteurs sillonnent l'île ; le tourisme y est, pour ainsi dire, une tradition.

  

Leandro Bassano (Leandro da Ponte) 1557-1622. Venise. Sacrifice de Noé après la sortie de l'Arche. 1608. Bordeaux. Musée des Beaux Arts. Collection de Louis XIV

 

Leandro Bassano (Leandro da Ponte) 1557-1622. Venice. Sacrifice of Noah after leaving the ark. 1608 Bordeaux. Museum of Fine Arts. Collection of Louis XIV

Church of San Giorgio Maggiore

LocationVenice

Geographic coordinates45.4293°N 12.3433°ECoordinates: 45.4293°N 12.3433°E

Affiliation Roman Catholic

DistrictPatriarchate of Venice

LeadershipBenedictine monks

Architectural description

Architect(s)Andrea Palladio

Completed1610

Specifications

 

San Giorgio Maggiore seen across the water in full sun on an evening in June

San Giorgio Maggiore is a 16th-century Benedictine church on the island of the same name in Venice, northern Italy, designed by Andrea Palladio, and built between 1566 and 1610. The church is a basilica in the classical renaissance style and its brilliant white marble gleams above the blue water of the lagoon opposite the Piazzetta and forms the focal point of the view from every part of the Riva degli Schiavoni.

History

The first church on the island was built about 790, and in 982, the island was given to the Benedictine order by the Doge Tribuno Memmo. The Benedictines founded a monastery there, but in 1223, all the buildings on the island were destroyed by an earthquake.

 

The church and monastery were rebuilt after the earthquake. The church, which had a nave with side chapels, was not in the same position as the present church, but farther back at the side of a small campo or square. There were cloisters in front of it, which were demolished in 1516. The monks were considering the rebuilding of the church from 1521.

 

Palladio arrived in Venice in 1560, when the refectory of the monastery was being rebuilt. He made great improvements to this and in 1565, was asked to prepare a model for a new church.

The model was completed and approved in 1566 and the foundation stone was laid in the presence of the Pope in the same year. The work was not finished before the death of Palladio in 1580, but the body of the church was complete by 1575, except for the choir behind the altar and the facade. The decoration of the interior was completed subsequently.

The choir appears to have been designed in essentials by Palladio before his death and was built between 1580 and 1589.

 

The façade, initially under the superintendence of Simone Sorella, was not commenced until 1599. The stonemason's contract provided that it was to follow Palladio's model and there were only minor changes. It was completed in 1610.

 

The campanile (bell tower), first built in 1467, fell in 1774; it was rebuilt in neo-classic style by 1791. It was ascended by easy ramps and there is now also a lift. There is a fine view across Venice from the top.

 

Exterior

 

The facade

The façade is brilliantly white and represents Palladio's solution to the difficulty of adapting a classical temple facade to the form of the Christian church, with its high nave and low side aisles, which had always been a problem. Palladio's solution superimposed two facades, one with a wide pediment and architrave, extending over the nave and both the aisles, apparently supported by a single order of pilasters, and the other with a narrower pediment (the width of the nave) superimposed on top of it with a giant order of engaged columns on high pedestals. This solution is similar to Palladio's slightly earlier facade for San Francesco della Vigna, where the other parts of the church had been designed by Sansovino.[5] On either side of the central portal are statues of Saint George and of Saint Stephen, to whom the church is also dedicated.

 

Interior

Interior: The nave, looking east towards the high altar

The interior of the church is very bright with massive engaged columns and pilasters on undecorated, white-surfaced walls. The interior combines a long basilican nave with a cruciform plan with transepts.

 

Two very large paintings by Tintoretto relate to the institution of the eucharist and are placed on either side of the presbytery where they can be seen from the altar rail. These are The Last Supper and The Fall of Manna (which was considered as a gift of God foretelling the gift of the eucharist).

 

In the Cappella dei Morti (Chapel of the dead) is a painting of the Entombment of Christ, also by Jacopo Tintoretto.

 

The Benedictine monks kept control of chapels in the church and did not sell them to families to decorate and embellish as they pleased, as was done in many Venetian churches. They had income from property and were in a stronger position. Some altars were given over to distinguished families but the decoration was controlled by the monks. The chapel to the right of the high altar belonged to the Bollani family (Domenico Bollani had been ambassador to Edward VI in England in 1547 and later a Bishop). Work on this chapel was delayed after the death of Domenico Bollani and it was still unfinished in 1619, with a poor painting as the altarpiece. Another painting was substituted in 1693, but it was not until 1708 that it acquired the important work now seen there, which is the Virgin and Child with Saints by Sebastiano Ricci.

 

The altar to the left of the sanctuary was the responsibility of the Morosini family. The altar is dedicated to St Andrew (in memory of a deceased son of Vincenzo Morosini) and the altarpiece is by Jacopo and Domenico Tintoretto showing the Risen Christ and St Andrew with Vincenzo Morosini and members of his family.

The altars in the transepts were retained by the monks. In the south transept is a painting by Jacopo and Domenico Tintoretto of the Coronation of the Virgin with Saints.

 

On the first altar on the right of the nave is the Adoration of the Shepherds by Jacopo Bassano. On the left is the Miracle of the immobility of Santa Lucia (she was condemned to prostitution but by a miracle it was found impossible to move her) by Leandro Bassano.

There are other paintings in the monastery building.

Jacopo ou Giacomo BASSANO (Ecole de)

Allégorie de la Terre

XVIIe

Legs de Silguy en 1873

QUIMPER Musée des Beaux-Arts

 

Ce tableau dérive d'une allégorie de la Terre attribuée à Leandro Bassano (1557-1622) par Féderico Zeri. Leandro est l'un des quatre fils du fameux peintre vénitien Jacopo Bassano, qui travailla avec son père à de nombreuses compositions. Bien que reproduite avec fidélité, la composition de Quimper diffère de l'original conservé à Baltimore par l'ajout d'un couple, représenté à gauche sous l'architecture, dont l'aspect élégant détonne parmi les personnages « rustiques » de type bassanesque. Les visages sont rendus avec une certaine maladresse et certains motifs floraux absents laissent à penser qu'il s'agit d'une copie.

Cartel du musée

   

Church of San Giorgio Maggiore

Location : Venice

Affiliation Roman Catholic

DistrictPatriarchate of Venice

LeadershipBenedictine monks

Architectural description

Architect(s)Andrea Palladio

Completed1610

Specifications

 

San Giorgio Maggiore seen across the water in full sun on an evening in June

San Giorgio Maggiore is a 16th-century Benedictine church on the island of the same name in Venice, northern Italy, designed by Andrea Palladio, and built between 1566 and 1610. The church is a basilica in the classical renaissance style and its brilliant white marble gleams above the blue water of the lagoon opposite the Piazzetta and forms the focal point of the view from every part of the Riva degli Schiavoni.

History

The first church on the island was built about 790, and in 982, the island was given to the Benedictine order by the Doge Tribuno Memmo. The Benedictines founded a monastery there, but in 1223, all the buildings on the island were destroyed by an earthquake.

 

The church and monastery were rebuilt after the earthquake. The church, which had a nave with side chapels, was not in the same position as the present church, but farther back at the side of a small campo or square. There were cloisters in front of it, which were demolished in 1516. The monks were considering the rebuilding of the church from 1521.

 

Palladio arrived in Venice in 1560, when the refectory of the monastery was being rebuilt. He made great improvements to this and in 1565, was asked to prepare a model for a new church.

The model was completed and approved in 1566 and the foundation stone was laid in the presence of the Pope in the same year. The work was not finished before the death of Palladio in 1580, but the body of the church was complete by 1575, except for the choir behind the altar and the facade. The decoration of the interior was completed subsequently.

The choir appears to have been designed in essentials by Palladio before his death and was built between 1580 and 1589.

 

The façade, initially under the superintendence of Simone Sorella, was not commenced until 1599. The stonemason's contract provided that it was to follow Palladio's model and there were only minor changes. It was completed in 1610.

 

The campanile (bell tower), first built in 1467, fell in 1774; it was rebuilt in neo-classic style by 1791. It was ascended by easy ramps and there is now also a lift. There is a fine view across Venice from the top.

 

Exterior

 

The facade

The façade is brilliantly white and represents Palladio's solution to the difficulty of adapting a classical temple facade to the form of the Christian church, with its high nave and low side aisles, which had always been a problem. Palladio's solution superimposed two facades, one with a wide pediment and architrave, extending over the nave and both the aisles, apparently supported by a single order of pilasters, and the other with a narrower pediment (the width of the nave) superimposed on top of it with a giant order of engaged columns on high pedestals. This solution is similar to Palladio's slightly earlier facade for San Francesco della Vigna, where the other parts of the church had been designed by Sansovino.[5] On either side of the central portal are statues of Saint George and of Saint Stephen, to whom the church is also dedicated.

 

Interior

Interior: The nave, looking east towards the high altar

The interior of the church is very bright with massive engaged columns and pilasters on undecorated, white-surfaced walls. The interior combines a long basilican nave with a cruciform plan with transepts.

 

Two very large paintings by Tintoretto relate to the institution of the eucharist and are placed on either side of the presbytery where they can be seen from the altar rail. These are The Last Supper and The Fall of Manna (which was considered as a gift of God foretelling the gift of the eucharist).

 

In the Cappella dei Morti (Chapel of the dead) is a painting of the Entombment of Christ, also by Jacopo Tintoretto.

 

The Benedictine monks kept control of chapels in the church and did not sell them to families to decorate and embellish as they pleased, as was done in many Venetian churches. They had income from property and were in a stronger position. Some altars were given over to distinguished families but the decoration was controlled by the monks. The chapel to the right of the high altar belonged to the Bollani family (Domenico Bollani had been ambassador to Edward VI in England in 1547 and later a Bishop). Work on this chapel was delayed after the death of Domenico Bollani and it was still unfinished in 1619, with a poor painting as the altarpiece. Another painting was substituted in 1693, but it was not until 1708 that it acquired the important work now seen there, which is the Virgin and Child with Saints by Sebastiano Ricci.

 

The altar to the left of the sanctuary was the responsibility of the Morosini family. The altar is dedicated to St Andrew (in memory of a deceased son of Vincenzo Morosini) and the altarpiece is by Jacopo and Domenico Tintoretto showing the Risen Christ and St Andrew with Vincenzo Morosini and members of his family.

The altars in the transepts were retained by the monks. In the south transept is a painting by Jacopo and Domenico Tintoretto of the Coronation of the Virgin with Saints.

 

On the first altar on the right of the nave is the Adoration of the Shepherds by Jacopo Bassano. On the left is the Miracle of the immobility of Santa Lucia (she was condemned to prostitution but by a miracle it was found impossible to move her) by Leandro Bassano.

There are other paintings in the monastery building.

Allegory of the Element Earth (detail)

ca. 1580

Leandro da Ponte, called Leandro Bassano

Italian (Venice), active 1557-1622

Jacopo Bassano (c. 1510 – 13 February 1592), also known as Jacopo da Ponte, was an Italian painter active in the Republic of Venice. He was born and died in Bassano del Grappa near Venice, from which he adopted the name.

His father Francesco Bassano the Elder was a "peasant artist" and Jacopo adopted some of his style as he created religious paintings with novel features including animals, farmhouses, and landscapes. He trained initially with his father, Francesco da Ponte the Elder, then in the studio of Bonifacio Veneziano. His mature style, however, followed the example of Titian. Having worked in Venice and other Italian towns, he established a workshop in Bassano with his four sons: Francesco the Younger , Girolamo, Giovanni Battista and Leandro. They shared his style, and some works are difficult to attribute precisely.

Leandro Bassano ( del Ponte). 1557-1622. Venise. Les Noces de Cana v 1580 Louvre. Léandro est le troisième fils de Jacopo Bassano.

 

Leandro Bassano (del Ponte). From 1557 to 1622. Venice. The Wedding at Cana v 1580 Louvre. Leandro is the third son of Jacopo Bassano.

The monthly series

According to the statements of the Venetian historian Carlo Ridolfi (1648), a series of paintings representing the twelve months was sent to Rudolf in Prague: It is very likely that the works exhibited here are just those which belonged to the Emperor. The paintings correspond to the refined taste of an aristocratic authority: The high decorative value, the grandiosity of the iconographic program and sizeable dimensions suggest that they were intended for a great room.

In the inventory of the Archduke Leopold Wilhelm are to be found the twelve paintings recorded as works of the young Bassano: almost all are signed and have been created by Leandro towards the end of the nineties of the 16th century. The series has been preserved almost completely, and so we can still enjoy the unity of style and content. September and October are located in Prague, December is not yet reappeared. The image representing July was cut into two parts, probably for decorative considerations, but both fragments are preserved in Vienna.

The lovely hills surrounding Bassano provides the ambience in which take place the field works characterizing the respective month. The winter months of January, February and March, however - they represent a break in the rural task list - show other subjects: the return from the hunt, the carnival and a market scene. Each month is also provided with the corresponding sign of the zodiac, which appears in the middle of the clouds. The composition, wrapped in a dusky light, develops as parallel image into the landscape: the horizon forms the bluish massive of the mountain - probably the Monte Grappa - where the eye can rest.

Leandro describes the activities of the figures with great precision and carefulness in the reproduction of the details, from the working tools, en passant, the objects up to the clothes, so that the paintings in addition also represent a considerable documentary value. The artist intends to entertain the viewer in a pleasant manner and to dispel. Probably recognized some people themselves in the episodes again: for instance, in the richly-dressed lady who had served herself crops, or in the landlord who controls with his steward the works and the harvest. The monthly cycle, which has its roots in the fertile iconographic tradition of the Middle Ages, acquires in the interpretation of Leandros the character of a lively illustrated calendar, which is aimed at an aristocratic clientele.

 

The family of painters Bassano

Bassano, a small city, situated on the slopes of Monte Grappa in the northern Veneto, gave the family of painters Da Ponte not only the nickname, but also the fundamental inspirations for the art of the head of family Jacopo and his sons.

Jacopo Bassano was primarily active in the province, far away from the urban artists' centers, and is now considered one of the great masters of Venetian painting of the Cinquecento to the side of Titian, Veronese and Tintoretto. His fame he owes, i.a., the invention of a subject type, linking the pastoral scenes with biblical or allegorical motifs: for this reason he realized completely new and original compositions, enjoying such great popularity that the heirs of Jacopo continued to produce such paintings until the middle of the Seicento and beyond. Leandro, after Francesco the most gifted of the sons, was an irreplaceable support for the father in the workshop operation. With its vibrant and brilliant colors, he continued the fame of the Bassano family into the new century and has been, as a consequence, very successful, especially in the field of portraiture.

 

Die Malerfamilie Bassano

Bassano, eine kleine, an den Hängen des Monte Grappa im nördlichen Veneto gelegene Stadt, gab der Malerfamilie Da Ponte nicht nur den Beinamen, sondern auch grundlegende Anregungen für die Kunst des Familienoberhauptes Jacopo und seiner Söhne.

Jacopo Bassano war vornehmlich in der Provinz aktiv, weit entfernt von den städtischen Künstlerzentren, und gilt heute als einer der großen Meister der venezianischen Malerei des Cinquecento an der Seite von Tizian, Veronese und Tintoretto. Seinen Ruhm verdankt er unter anderem der Erfindung eines Sujettypus, der die Pastoralszenen mit biblischen oder allegorischen Motiven verknüpfte: Er realisierte damit völlig neuartige und originelle Kompositionen, die so große Beliebtheit genossen, dass die Erben Jacopos derartige Gemälde bis über die Mitte des Seicento hinaus weiterproduzierten. Leandro, nach Francesco der begabteste der Söhne, war für den Vater im Werkstattbetrieb eine unersetzliche Stütze. Mit seiner lebendigen und brillanten Farbgebung setzte er den Ruhm der Familie Bassano bis ins neue Jahrhundert fort und war in der Folge vor allem auf dem Gebiet der Portraitmalerei sehr erfolgreich.

 

Die Monatsserie

Gemäß den Aussagen des venezianischen Historikers Carlo Ridolfi (1648) wurde eine die zwölf Monate darstellende Gemäldeserie an Rudolf II. nach Prag gesandt: Es ist sehr wahrscheinlich, dass die hier ausgestellten Werke eben jene sind, die dem Kaiser gehörten. Die Gemälde entsprechen dem raffinierten Geschmack eines aristokratischen Auftraggebers: Der hohe dekorative Wert, die Grandiosität des ikonographischen Programms und die ansehnlichen Dimensionen lassen vermuten, dass sie für einen großen Raum gedacht waren.

Im Inventar des Erzherzogs Leopold Wilhelm finden sich die zwölf Gemälde als Werke des jungen Bassano verzeichnet: Fast alle sind signiert und wurden von Leandro gegen Ende der neunziger Jahre des 16. Jahrhunderts geschaffen. Die Serie ist fast zur Gänze erhalten geblieben, und so können wir uns auch heute noch an der Einheit von Stil und Inhalt erfreuen. Der September und der Oktober befinden sich in Prag; der Dezember ist noch nicht wieder aufgetaucht. Das Bild, das den Juli darstellt, wurde in zwei Teile geschnitten, wohl aus dekorativen Überlegungen, aber beide Fragmente sind in Wien erhalten.

Die liebliche Hügellandschaft um Bassano liefert das Ambiente, in dem sich die den jeweiligen Monat charakterisierenden Landarbeiten abspielen. Die Wintermonate Januar, Februar und März hingegen - sie stellen eine Ruhepause in der ländlichen Arbeit dar - zeigen andere Sujets: die Rückkehr von der Jagd, den Karneval und eine Marktszene. Jeder Monat ist zudem mit dem entsprechenden Tierkreiszeichen versehen, das inmitten der Wolken erscheint. Die Komposition, in ein dämmriges Licht gehüllt, entwickelt sich bildparallel in die Landschaft hinein: Den Horizont bildet das bläuliche Massive des Gebirges - wahrscheinlich der Monte Grappa -, wo das Auge Ruhe findet.

Leandro beschreibt die Tätigkeiten der Figuren mit großer Präzision und Sorgfalt in der Wiedergabe der Details, von den Arbeitswerkzeugen über die Gegenstände bis hin zur Kleidung, sodaß die Gemälde zusätzlich auch einen beträchtlichen dokumentarischen Wert repräsentieren. Der Künstler beabsichtigt, den Betrachter in angenehmer Weise zu unterhalten und zu zerstreuen. Wahrscheinlich erkannte sich so mancher in den Episoden wieder: Etwa in der reich gekleideten Dame, die sich Feldfrüchte vorlegen läßt, oder im Grundherrn, der zusammen mit seinem Gutsverwalter die Arbeiten und die Ernte kontrolliert. Der Monatszyklus, der seine Wurzeln in der fruchtbaren ikonographischen Tradition des Mittelalters hat, nimmt in der Interpretation Leandros den Charakter eines lebendig illustrierten Kalenders an, der sich an ein aristokratisches Publikum richtet.

Santa Corona is a medieval church located in Vicenza, and contains the Valmarana chapel (circa 1576), whose design is attributed to the architect Andrea Palladio. Palladio himself is buried in this church.

 

The church was founded by the Blessed (Beato) Bishop Bartolomeo di Breganze, during the 1200s to house a thorn from the supposed relic of the crown (corona) of thorns forced on Jesus during his passion. The thorn had been given to this bishop as a gift from Louis IX of France. The church belonged to the Dominican order until suppression during the Napoleonic era.The church has an altarpiece depicting, the Baptism of Christ (1500-1502) by Giovanni Bellini. The Thiene chapel has frescos by Michelino da Besozzo, and an altarpiece depicting an Enthroned Madonna and child venerated by Saints Peter and Pius V by Giovanni Battista Pittoni . Other works in the church include an Adoration of the Magi’’ by Veronese, a Madonna of the Star‘ by Marcello Fogolino, a St Mary Magdalen with Saints Jerome, Paola and Monica, (1414-1415) by Bartolomeo Montagna, a canvas depicting St Anthony and friars distributing alms to poor (1518) by Leandro Bassano, and two canvases with depictions of St Sebastian and St Martin by Battista da Vicenza.

 

Valmarana Chapel

After the death of one of his patrons, Antonio Valmarana, likely in 1576, Palladio designed this funereal chapel. Santa Corona had already been the church were other members of the family had been interred. Ten years earlier, Palladio had designed the Palazzo Valmarana in town for the family. The chapel was constructed by 1597, and family members transferred here. While there is no documentary evidence linking this design to Palladio, it highly resembles his chapels found at the Il Redentore in Venice.

Allegory of the Element Earth

ca. 1580

Leandro da Ponte, called Leandro Bassano

Italian (Venice), active 1557-1622

Léandro BASSANO

(Bassano,1557 - Venise, 1622)

Départ pour la terre promise

Huile sur toile, 88 × 118 cm

Legs Ange de Guernissac en 1887

MORLAIX Musée des Jacobins

 

Exposition « Chers enfants ! » du 12 décembre 2014 au 16 mai 2015 au Musée des Jacobins de Morlaix

The monthly series

According to the statements of the Venetian historian Carlo Ridolfi (1648), a series of paintings representing the twelve months was sent to Rudolf in Prague: It is very likely that the works exhibited here are just those which belonged to the Emperor. The paintings correspond to the refined taste of an aristocratic authority: The high decorative value, the grandiosity of the iconographic program and sizeable dimensions suggest that they were intended for a great room.

In the inventory of the Archduke Leopold Wilhelm are to be found the twelve paintings recorded as works of the young Bassano: almost all are signed and have been created by Leandro towards the end of the nineties of the 16th century. The series has been preserved almost completely, and so we can still enjoy the unity of style and content. September and October are located in Prague, December is not yet reappeared. The image representing July was cut into two parts, probably for decorative considerations, but both fragments are preserved in Vienna.

The lovely hills surrounding Bassano provides the ambience in which take place the field works characterizing the respective month. The winter months of January, February and March, however - they represent a break in the rural task list - show other subjects: the return from the hunt, the carnival and a market scene. Each month is also provided with the corresponding sign of the zodiac, which appears in the middle of the clouds. The composition, wrapped in a dusky light, develops as parallel image into the landscape: the horizon forms the bluish massive of the mountain - probably the Monte Grappa - where the eye can rest.

Leandro describes the activities of the figures with great precision and carefulness in the reproduction of the details, from the working tools, en passant, the objects up to the clothes, so that the paintings in addition also represent a considerable documentary value. The artist intends to entertain the viewer in a pleasant manner and to dispel. Probably recognized some people themselves in the episodes again: for instance, in the richly-dressed lady who had served herself crops, or in the landlord who controls with his steward the works and the harvest. The monthly cycle, which has its roots in the fertile iconographic tradition of the Middle Ages, acquires in the interpretation of Leandros the character of a lively illustrated calendar, which is aimed at an aristocratic clientele.

 

The family of painters Bassano

Bassano, a small city, situated on the slopes of Monte Grappa in the northern Veneto, gave the family of painters Da Ponte not only the nickname, but also the fundamental inspirations for the art of the head of family Jacopo and his sons.

Jacopo Bassano was primarily active in the province, far away from the urban artists' centers, and is now considered one of the great masters of Venetian painting of the Cinquecento to the side of Titian, Veronese and Tintoretto. His fame he owes, i.a., the invention of a subject type, linking the pastoral scenes with biblical or allegorical motifs: for this reason he realized completely new and original compositions, enjoying such great popularity that the heirs of Jacopo continued to produce such paintings until the middle of the Seicento and beyond. Leandro, after Francesco the most gifted of the sons, was an irreplaceable support for the father in the workshop operation. With its vibrant and brilliant colors, he continued the fame of the Bassano family into the new century and has been, as a consequence, very successful, especially in the field of portraiture.

 

Die Malerfamilie Bassano

Bassano, eine kleine, an den Hängen des Monte Grappa im nördlichen Veneto gelegene Stadt, gab der Malerfamilie Da Ponte nicht nur den Beinamen, sondern auch grundlegende Anregungen für die Kunst des Familienoberhauptes Jacopo und seiner Söhne.

Jacopo Bassano war vornehmlich in der Provinz aktiv, weit entfernt von den städtischen Künstlerzentren, und gilt heute als einer der großen Meister der venezianischen Malerei des Cinquecento an der Seite von Tizian, Veronese und Tintoretto. Seinen Ruhm verdankt er unter anderem der Erfindung eines Sujettypus, der die Pastoralszenen mit biblischen oder allegorischen Motiven verknüpfte: Er realisierte damit völlig neuartige und originelle Kompositionen, die so große Beliebtheit genossen, dass die Erben Jacopos derartige Gemälde bis über die Mitte des Seicento hinaus weiterproduzierten. Leandro, nach Francesco der begabteste der Söhne, war für den Vater im Werkstattbetrieb eine unersetzliche Stütze. Mit seiner lebendigen und brillanten Farbgebung setzte er den Ruhm der Familie Bassano bis ins neue Jahrhundert fort und war in der Folge vor allem auf dem Gebiet der Portraitmalerei sehr erfolgreich.

 

Die Monatsserie

Gemäß den Aussagen des venezianischen Historikers Carlo Ridolfi (1648) wurde eine die zwölf Monate darstellende Gemäldeserie an Rudolf II. nach Prag gesandt: Es ist sehr wahrscheinlich, dass die hier ausgestellten Werke eben jene sind, die dem Kaiser gehörten. Die Gemälde entsprechen dem raffinierten Geschmack eines aristokratischen Auftraggebers: Der hohe dekorative Wert, die Grandiosität des ikonographischen Programms und die ansehnlichen Dimensionen lassen vermuten, dass sie für einen großen Raum gedacht waren.

Im Inventar des Erzherzogs Leopold Wilhelm finden sich die zwölf Gemälde als Werke des jungen Bassano verzeichnet: Fast alle sind signiert und wurden von Leandro gegen Ende der neunziger Jahre des 16. Jahrhunderts geschaffen. Die Serie ist fast zur Gänze erhalten geblieben, und so können wir uns auch heute noch an der Einheit von Stil und Inhalt erfreuen. Der September und der Oktober befinden sich in Prag; der Dezember ist noch nicht wieder aufgetaucht. Das Bild, das den Juli darstellt, wurde in zwei Teile geschnitten, wohl aus dekorativen Überlegungen, aber beide Fragmente sind in Wien erhalten.

Die liebliche Hügellandschaft um Bassano liefert das Ambiente, in dem sich die den jeweiligen Monat charakterisierenden Landarbeiten abspielen. Die Wintermonate Januar, Februar und März hingegen - sie stellen eine Ruhepause in der ländlichen Arbeit dar - zeigen andere Sujets: die Rückkehr von der Jagd, den Karneval und eine Marktszene. Jeder Monat ist zudem mit dem entsprechenden Tierkreiszeichen versehen, das inmitten der Wolken erscheint. Die Komposition, in ein dämmriges Licht gehüllt, entwickelt sich bildparallel in die Landschaft hinein: Den Horizont bildet das bläuliche Massive des Gebirges - wahrscheinlich der Monte Grappa -, wo das Auge Ruhe findet.

Leandro beschreibt die Tätigkeiten der Figuren mit großer Präzision und Sorgfalt in der Wiedergabe der Details, von den Arbeitswerkzeugen über die Gegenstände bis hin zur Kleidung, sodaß die Gemälde zusätzlich auch einen beträchtlichen dokumentarischen Wert repräsentieren. Der Künstler beabsichtigt, den Betrachter in angenehmer Weise zu unterhalten und zu zerstreuen. Wahrscheinlich erkannte sich so mancher in den Episoden wieder: Etwa in der reich gekleideten Dame, die sich Feldfrüchte vorlegen läßt, oder im Grundherrn, der zusammen mit seinem Gutsverwalter die Arbeiten und die Ernte kontrolliert. Der Monatszyklus, der seine Wurzeln in der fruchtbaren ikonographischen Tradition des Mittelalters hat, nimmt in der Interpretation Leandros den Charakter eines lebendig illustrierten Kalenders an, der sich an ein aristokratisches Publikum richtet.

Jacopo Bassano. 1510-1592. L'Automne ou les Vendanges. vers 1577. Louvre. Oeuvre de l'atelier, peut être de Léandro Bassano.

 

Jacopo Bassano. 1510-1592 Autumn or harvest. to 1577. Louvre. Work of the workshop, can be by Leandro Bassano

Hyazinthus von Polen, Ordensmann, Glaubensbote

* um 1183 in Groß-Stein, heute Kamień Śląski bei Opole in Polen

† 15. August 1257 in Krakau in Polen

 

Jacek Odrowąż stammte aus dem schlesisch-polnischen Adelsgeschlecht der Odrowąż und war ein Verwandter von Bischof Ivo von Krakau. Er studierte in Krakau, Prag und Bologna, wo er zum Doktor für kanonisches Recht und Theologie promoviert wurde. Er wurde - zusammen mit seinem Bruder Ceslaus - Kanoniker des Domkapitels in Krakau und trat 1218 in Rom in den Dominikanerorden ein.

 

Dominikus schickte ihn 1219 nach Polen zurück, auf dem Weg gründete er 1221 in Friesach in Kärnten zusammen mit Hermann dem Deutschen ein erstes Dominikanerkloster. Er predigte unaufhörlich, gründete Klöster in Polen, Schlesien, Pommern, Preußen und Russland, so 1222 in Krakau, 1226 in Wrocław, 1227 in Danzig, und 1229 in Kiew, wo er bis 1233 lebte. Mit Marienstatue und Ziborium (das Ziborium, lateinisch für „Trinkbecher”, ist ein in der katholischen und den orthodoxen Kirchen benutztes Gefäß zur Aufbewahrung der geweihten Hostien, benutzt vor allem bei Haus- und Krankenkommunion) soll Hyazinthus dort trockenen Fußes über den Dnjepr geschritten und so den die Stadt belagernden Tataren entkommen sein.

 

Anschließend missionierte er in Pommern und bei den preußischen Pomesaniern und gründete die Klöster in Kamień Śląski und Elbing - dem heutigen Elbląg und schuf die Ordensprovinz Polonia, die sich von Preußen bis nach Russland erstreckte. Hyazinth war auch in Litauen, Dänemark, Schweden und Russland als Missionar aktiv und trat auch in Preußen als Missionsprediger auf, wo der Deutsche Orden seine Bemühungen aber durch die eigene Mission mit Waffengewalt verunmöglichte. Heilungen, Totenerweckungen und zahlreiche Wunder werden ihm zugeschrieben. Die bedeutendste Quelle für Hyazinths Leben ist die nach 1352 verfasste Lebensgeschichte.

 

Quelle: www.heiligenlexikon.de/

The monthly series

According to the statements of the Venetian historian Carlo Ridolfi (1648), a series of paintings representing the twelve months was sent to Rudolf in Prague: It is very likely that the works exhibited here are just those which belonged to the Emperor. The paintings correspond to the refined taste of an aristocratic authority: The high decorative value, the grandiosity of the iconographic program and sizeable dimensions suggest that they were intended for a great room.

In the inventory of the Archduke Leopold Wilhelm are to be found the twelve paintings recorded as works of the young Bassano: almost all are signed and have been created by Leandro towards the end of the nineties of the 16th century. The series has been preserved almost completely, and so we can still enjoy the unity of style and content. September and October are located in Prague, December is not yet reappeared. The image representing July was cut into two parts, probably for decorative considerations, but both fragments are preserved in Vienna.

The lovely hills surrounding Bassano provides the ambience in which take place the field works characterizing the respective month. The winter months of January, February and March, however - they represent a break in the rural task list - show other subjects: the return from the hunt, the carnival and a market scene. Each month is also provided with the corresponding sign of the zodiac, which appears in the middle of the clouds. The composition, wrapped in a dusky light, develops as parallel image into the landscape: the horizon forms the bluish massive of the mountain - probably the Monte Grappa - where the eye can rest.

Leandro describes the activities of the figures with great precision and carefulness in the reproduction of the details, from the working tools, en passant, the objects up to the clothes, so that the paintings in addition also represent a considerable documentary value. The artist intends to entertain the viewer in a pleasant manner and to dispel. Probably recognized some people themselves in the episodes again: for instance, in the richly-dressed lady who had served herself crops, or in the landlord who controls with his steward the works and the harvest. The monthly cycle, which has its roots in the fertile iconographic tradition of the Middle Ages, acquires in the interpretation of Leandros the character of a lively illustrated calendar, which is aimed at an aristocratic clientele.

 

The family of painters Bassano

Bassano, a small city, situated on the slopes of Monte Grappa in the northern Veneto, gave the family of painters Da Ponte not only the nickname, but also the fundamental inspirations for the art of the head of family Jacopo and his sons.

Jacopo Bassano was primarily active in the province, far away from the urban artists' centers, and is now considered one of the great masters of Venetian painting of the Cinquecento to the side of Titian, Veronese and Tintoretto. His fame he owes, i.a., the invention of a subject type, linking the pastoral scenes with biblical or allegorical motifs: for this reason he realized completely new and original compositions, enjoying such great popularity that the heirs of Jacopo continued to produce such paintings until the middle of the Seicento and beyond. Leandro, after Francesco the most gifted of the sons, was an irreplaceable support for the father in the workshop operation. With its vibrant and brilliant colors, he continued the fame of the Bassano family into the new century and has been, as a consequence, very successful, especially in the field of portraiture.

 

Die Malerfamilie Bassano

Bassano, eine kleine, an den Hängen des Monte Grappa im nördlichen Veneto gelegene Stadt, gab der Malerfamilie Da Ponte nicht nur den Beinamen, sondern auch grundlegende Anregungen für die Kunst des Familienoberhauptes Jacopo und seiner Söhne.

Jacopo Bassano war vornehmlich in der Provinz aktiv, weit entfernt von den städtischen Künstlerzentren, und gilt heute als einer der großen Meister der venezianischen Malerei des Cinquecento an der Seite von Tizian, Veronese und Tintoretto. Seinen Ruhm verdankt er unter anderem der Erfindung eines Sujettypus, der die Pastoralszenen mit biblischen oder allegorischen Motiven verknüpfte: Er realisierte damit völlig neuartige und originelle Kompositionen, die so große Beliebtheit genossen, dass die Erben Jacopos derartige Gemälde bis über die Mitte des Seicento hinaus weiterproduzierten. Leandro, nach Francesco der begabteste der Söhne, war für den Vater im Werkstattbetrieb eine unersetzliche Stütze. Mit seiner lebendigen und brillanten Farbgebung setzte er den Ruhm der Familie Bassano bis ins neue Jahrhundert fort und war in der Folge vor allem auf dem Gebiet der Portraitmalerei sehr erfolgreich.

 

Die Monatsserie

Gemäß den Aussagen des venezianischen Historikers Carlo Ridolfi (1648) wurde eine die zwölf Monate darstellende Gemäldeserie an Rudolf II. nach Prag gesandt: Es ist sehr wahrscheinlich, dass die hier ausgestellten Werke eben jene sind, die dem Kaiser gehörten. Die Gemälde entsprechen dem raffinierten Geschmack eines aristokratischen Auftraggebers: Der hohe dekorative Wert, die Grandiosität des ikonographischen Programms und die ansehnlichen Dimensionen lassen vermuten, dass sie für einen großen Raum gedacht waren.

Im Inventar des Erzherzogs Leopold Wilhelm finden sich die zwölf Gemälde als Werke des jungen Bassano verzeichnet: Fast alle sind signiert und wurden von Leandro gegen Ende der neunziger Jahre des 16. Jahrhunderts geschaffen. Die Serie ist fast zur Gänze erhalten geblieben, und so können wir uns auch heute noch an der Einheit von Stil und Inhalt erfreuen. Der September und der Oktober befinden sich in Prag; der Dezember ist noch nicht wieder aufgetaucht. Das Bild, das den Juli darstellt, wurde in zwei Teile geschnitten, wohl aus dekorativen Überlegungen, aber beide Fragmente sind in Wien erhalten.

Die liebliche Hügellandschaft um Bassano liefert das Ambiente, in dem sich die den jeweiligen Monat charakterisierenden Landarbeiten abspielen. Die Wintermonate Januar, Februar und März hingegen - sie stellen eine Ruhepause in der ländlichen Arbeit dar - zeigen andere Sujets: die Rückkehr von der Jagd, den Karneval und eine Marktszene. Jeder Monat ist zudem mit dem entsprechenden Tierkreiszeichen versehen, das inmitten der Wolken erscheint. Die Komposition, in ein dämmriges Licht gehüllt, entwickelt sich bildparallel in die Landschaft hinein: Den Horizont bildet das bläuliche Massive des Gebirges - wahrscheinlich der Monte Grappa -, wo das Auge Ruhe findet.

Leandro beschreibt die Tätigkeiten der Figuren mit großer Präzision und Sorgfalt in der Wiedergabe der Details, von den Arbeitswerkzeugen über die Gegenstände bis hin zur Kleidung, sodaß die Gemälde zusätzlich auch einen beträchtlichen dokumentarischen Wert repräsentieren. Der Künstler beabsichtigt, den Betrachter in angenehmer Weise zu unterhalten und zu zerstreuen. Wahrscheinlich erkannte sich so mancher in den Episoden wieder: Etwa in der reich gekleideten Dame, die sich Feldfrüchte vorlegen läßt, oder im Grundherrn, der zusammen mit seinem Gutsverwalter die Arbeiten und die Ernte kontrolliert. Der Monatszyklus, der seine Wurzeln in der fruchtbaren ikonographischen Tradition des Mittelalters hat, nimmt in der Interpretation Leandros den Charakter eines lebendig illustrierten Kalenders an, der sich an ein aristokratisches Publikum richtet.

Léandro Bassano. 1557-1622. Venise. Pénélope défaisant sa tapisserie. Rennes

 

Leandro Bassano. From 1557 to 1622. Venice. Penelope undoing her tapestry. Rennes

Leandro Bassano

Portrait of an old woman 1580

St. Petersburg, Hermitage

Jacopo Bassano. 1510-1592. Venise. Sans doute de la main de Léandro Bassano. L'entrée des animaux dans l'arche 1579 Louvre Ce sujet fut de nombreuses fois exécuté par l'atelier.

 

Jacopo Bassano. 1510-1592 Venice. No doubt the hand of Leandro Bassano. The entry of such animals into the Ark. 1579 Louvre. This was many times performed by l'Atelier

   

Gerolamo Leandro Bassano (1557 - 1622):

Procurator of San Marco

The Procurator wears his official robes . The harbour in the background detail is not certain and unlikely to be Venice . The painting dates from the last years of C16. Leandro Bassano, (June 10, 1557 – April 15, 1622), also called Leandro del Ponte, was an Italian artist from Venice, the younger brother of Francesco Bassano the Younger and third son of Jacopo Bassano, who took their name from the town of Bassano del Grappa. Leandro studied with his brother in their father's workshop, but took over the studio when Francesco opened a workshop in Venice. Leandro followed in the tradition of his father’s religious works, but also became well known as a portrait painter.

By around 1575, Leandro had become an important assistant to his father, with his brother relocated to Venice. It was his father’s will that Leandro carry on the studio in Bassano del Grappa. Though after his father died, his brother Francesco tragically committed suicide and Leandro took up the studio in Venice. There he became a successful portraitist, working close to the influential style of the Venetian master, Tintoretto.

Leandro developed his style, taking in Venetian influence, furthering his fine drawing style. His approach to painting differed from his father’s in the use of "fine brushwork, with cool, light colours, smoothly applied in well-defined areas, unlike his father, who painted with dense and robust brushstrokes."

 

Founded in 1683, The Ashmolean re-opened on Saturday 7th November 2009. Their new display approach is "crossing culture crossing time." It was my first glimpse today, the much loved older museum is still here, but now enormously extended and plenty more to enjoy.

Supported by the Heritage Lottery Fund, the Ashmolean is currently undergoing a £61 million redevelopment. Award-winning architect Rick Mather has designed a new building to replace all but the Grade I listed Cockerell building. His design will double the existing gallery space, allow environmental control, and create a dedicated Education Centre and conservation facilities.

 

I've tried to show something of the atmosphere and texture of the museum in many of the photos, I also wanted to convey the sense of movement and people's interaction with the art objects, therefore razor sharp clarity (were I to achieve that) was not my number one objective. This set will grow as I explore the new galleries, I hope you'll forgive me if I do not tag or describe everything right away as there is so much to take in!

The New Ashmolean

Martin Beek Oxford, November 2009

Painter: Leandro Bassano ((Bassano del Grappa 1557 – 1622), also called Leandro dal Ponte

Date:

Original location:

Collection:

Medium and size:

Literature: for his knighthood in 1595, see C. Ridolfi,Le meraviglie dell'arte, overo le vite degl’illustri pittori veneti e dello Stato, II, Venetia, Gio. Battista Sgava, 1648 (ed. D.F. von Hadeln, Berlin 1914-1924), p. 166

 

Notes:

Third son of Jacopo Bassano and younger brother of Francesco Bassano the Younger. He worked for large portions of his life in Venice, where he was knighted by Doge Marino Grimani in 1595.

  

Carpet type:

 

Source: thanks to Pierantonio Berioli of Venice for this photo

 

The Carpet Index

Lauren Arnold, last update 2/5/13

laurenarnold@cs.com

 

by Leandro Bassano

Italian, 1557-1622

 

oil on canvas, c. 1590-1600

Painter: Leandro Bassano (1557-1622)

Date: ca. 1590

Original location:

Collection:

Medium and size:

Literature: online source

 

Notes: Son of Jacopo Bassano, Leandro and his brother Francesco II (1549-92) worked in Venice. The parable of of the leper Lazarus begging for crumbs from the rich man's table (Luke 16:19-31) is a cautionary tale for the rich, who ignore the poor at the peril of their mortal souls. When paired with a carpet under the white table cloth, it becomes a Counter-Reformation theme reminding the fabulously wealthy Roman Church of the perils of ignoring Christ's message about the poor. In this way these paintings are similar to the carpet/altar images of the Last Supper.

 

The Carpet Index

Lauren Arnold, last update 2/14/2013

laurenarnold@cs.com

Цифровая репродукция находится в интернет-музее Gallerix.ru

Church of Zitelle

 

The church of St. Mary of the Presentation , commonly called the Zitelle , is a religious building of the city of Venice located at the east end of the island of Giudecca .

 

The church is dedicated to the presentation of the Blessed Virgin Mary and is part of a complex featuring a former hospice for young girls without dowry (hence the name by which it is known).

  

History

The church is part of a church complex created by the Jesuit Benedetto Palmi to assist poor girls; at the time those of marriageable age (called "spinsters"), but too poor to have a dowry , often ended to give themselves to prostitution (which at the time of the Republic of Venice was not hampered by the nobles and by the local government); hospice was instead taught them a trade like sewing or laces so they could provide for themselves.

 

Sources attribute the design of the seventeenth-century church architect Andrea Palladio , without, however, that recent research also were able to find traces of a documentary or illustrative his speech: in fact most of the scholars expressed strong doubts about this attribution.

 

Although the acquisition of a site on the Giudecca to date back to 1561 , the start of work is after the death of Palladio: the first stone was laid in 1581 and the church was consecrated in 1588 . Actually already in the 1,575th - in 1576 are documented large purchases of building materials , perhaps intended precisely to the church. On this basis, they think of a recent hypothesis Palladian project can be dated to the mid- 1570s , but neither the front nor the interior of the church show characters refer unambiguously to Palladio's language, less than a realization extremely clumsy and unfaithful.

 

Description

The facade

The hospice is developed in a horseshoe around the church, leaving the space behind the ' apse of the church, to a court . The facade of the church has two orders with two windows in the first and a great spa to the second order, higher than the two wings of the hospice is closed by an eardrum . Two small bell towers are arranged symmetrically above the eardrum and a large dome with an impressive lantern close the building.

 

Inside the facility is central and the room is dominated by the time of the dome. All ' altar left works of ' Aliense : Madonna and Child, St. Francis and the attorney Frederick Contarini .

 

Altar Presentation in the Temple of Leandro Bassano

Church of Zitelle

 

The church of St. Mary of the Presentation , commonly called the Zitelle , is a religious building of the city of Venice located at the east end of the island of Giudecca .

 

The church is dedicated to the presentation of the Blessed Virgin Mary and is part of a complex featuring a former hospice for young girls without dowry (hence the name by which it is known).

  

History

The church is part of a church complex created by the Jesuit Benedetto Palmi to assist poor girls; at the time those of marriageable age (called "spinsters"), but too poor to have a dowry , often ended to give themselves to prostitution (which at the time of the Republic of Venice was not hampered by the nobles and by the local government); hospice was instead taught them a trade like sewing or laces so they could provide for themselves.

 

Sources attribute the design of the seventeenth-century church architect Andrea Palladio , without, however, that recent research also were able to find traces of a documentary or illustrative his speech: in fact most of the scholars expressed strong doubts about this attribution.

 

Although the acquisition of a site on the Giudecca to date back to 1561 , the start of work is after the death of Palladio: the first stone was laid in 1581 and the church was consecrated in 1588 . Actually already in the 1,575th - in 1576 are documented large purchases of building materials , perhaps intended precisely to the church. On this basis, they think of a recent hypothesis Palladian project can be dated to the mid- 1570s , but neither the front nor the interior of the church show characters refer unambiguously to Palladio's language, less than a realization extremely clumsy and unfaithful.

 

Description

The facade

The hospice is developed in a horseshoe around the church, leaving the space behind the ' apse of the church, to a court . The facade of the church has two orders with two windows in the first and a great spa to the second order, higher than the two wings of the hospice is closed by an eardrum . Two small bell towers are arranged symmetrically above the eardrum and a large dome with an impressive lantern close the building.

 

Inside the facility is central and the room is dominated by the time of the dome. All ' altar left works of ' Aliense : Madonna and Child, St. Francis and the attorney Frederick Contarini .

 

Altar Presentation in the Temple of Leandro Bassano

The church has an altarpiece depicting, the Baptism of Christ (1500-1502) by Giovanni Bellini. The Thiene chapel has frescos by Michelino da Besozzo, and an altarpiece depicting an Enthroned Madonna and child venerated by Saints Peter and Pius V by Giovanni Battista Pittoni . Other works in the church include an Adoration of the Magi’’ by Veronese, a Madonna of the Star‘ by Marcello Fogolino, a St Mary Magdalen with Saints Jerome, Paola and Monica, (1414-1415) by Bartolomeo Montagna, a canvas depicting St Anthony and friars distributing alms to poor (1518) by Leandro Bassano, and two canvases with depictions of St Sebastian and St Martin by Battista da Vicenza.

Leandro Bassano (called Leandro da Ponte)

"The Last Judgement"

ca. 1595-1596

Oil on panel

Purchased in 1999

Church of Zitelle

 

The church of St. Mary of the Presentation , commonly called the Zitelle , is a religious building of the city of Venice located at the east end of the island of Giudecca .

 

The church is dedicated to the presentation of the Blessed Virgin Mary and is part of a complex featuring a former hospice for young girls without dowry (hence the name by which it is known).

  

History

The church is part of a church complex created by the Jesuit Benedetto Palmi to assist poor girls; at the time those of marriageable age (called "spinsters"), but too poor to have a dowry , often ended to give themselves to prostitution (which at the time of the Republic of Venice was not hampered by the nobles and by the local government); hospice was instead taught them a trade like sewing or laces so they could provide for themselves.

 

Sources attribute the design of the seventeenth-century church architect Andrea Palladio , without, however, that recent research also were able to find traces of a documentary or illustrative his speech: in fact most of the scholars expressed strong doubts about this attribution.

 

Although the acquisition of a site on the Giudecca to date back to 1561 , the start of work is after the death of Palladio: the first stone was laid in 1581 and the church was consecrated in 1588 . Actually already in the 1,575th - in 1576 are documented large purchases of building materials , perhaps intended precisely to the church. On this basis, they think of a recent hypothesis Palladian project can be dated to the mid- 1570s , but neither the front nor the interior of the church show characters refer unambiguously to Palladio's language, less than a realization extremely clumsy and unfaithful.

 

Description

The facade

The hospice is developed in a horseshoe around the church, leaving the space behind the ' apse of the church, to a court . The facade of the church has two orders with two windows in the first and a great spa to the second order, higher than the two wings of the hospice is closed by an eardrum . Two small bell towers are arranged symmetrically above the eardrum and a large dome with an impressive lantern close the building.

 

Inside the facility is central and the room is dominated by the time of the dome. All ' altar left works of ' Aliense : Madonna and Child, St. Francis and the attorney Frederick Contarini .

 

Altar Presentation in the Temple of Leandro Bassano

Identifier: ilcontegiacomoca00pine

Title: Il conte Giacomo Carrara e la sua galleria : secondo il catalogo del 1796

Year: 1922 (1920s)

Authors: Pinetti, Angelo

Subjects: Carrara, Giacomo, conte, 1714-1796 Accademia Carrara Art museums Art

Publisher: Bergamo : Instituto italiano d'arti grafiche

Contributing Library: Robarts - University of Toronto

Digitizing Sponsor: University of Toronto

  

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ne. Da molti intelligenti è creduta op. delBraza-Sorsi. Altri lo credono opera di Giacomo Palma il vecchioed è bellissimo 2. 57. Cristo deposto dalla croce con molte figure in tavola, opera bel-lissima di Girolamo da Santacroce nostro berg^oo. Viveva circalanno 1480. 58. Marina, opera dellIsman. 59. Altra marina, op. dell Isman. 60. Bellissimo quadro .... mezzo vè figurato .... in alto soprale ... . una parte ve figurato Cristo che porta la Croce al Cal-vario lo credono questo op. di Leandro Bassano, altri lo dicono di Pauolo Farinate Veronese, ed è di questo ultimopiù verosimile, e molti si accordano di questo parere ; e più diogni altro mi assicura uno intendente veronese, che subito alvederlo lo dichiarò tale, cioè del sudetto Farinate. ^ Cfr. N.* 390, Catalogo 1912. Ebbe attribuzioni diverse: tolto a Giambellino, fudato alla sua Scuola ed ora a Vincenzo Catena. 2 Nel Gabinetto a sinistra del Salone dingresso al N. 1010 (N.* 888 dinv. gen. ;m. 0,24x0,45) su pietra colorata.

 

Text Appearing After Image:

o o 150 CATALOGO li 90 DELLA GALLERIA DEL CONTE GIACOMO CARRABA 61. Picciolo istoriato ove figurato il casto Giuseppe in tavola: operadel Panfilo milanese. 62. Paesetto, op. di Nicola Antonozzi Anconitano. 63. Baccanale bellissimo: opera del Carpioni Veronese. 64. Cristo risorto, di maniera tedesca dincognito autore. Foglio 79. Foglio 80. L. N.o 3. SALA QUINTA AL PIANO SUPERIORE. (SCHIZZO DELLA PARBTE). 65. Burasca : opera di Lucca Carlevaris detto Lucca da Casanobrio. 66. S. Pietro : opera del Cav. Lanfranchi Romano. 67. Palese : op. del Tavella Genovese. 68. S. Pauolo: op. bellissima di Bartolomeo Schidoni scolaro del Correggio. 69. Bambocciata : op. di Faustino Bochi bresciano. 70. Paese : op. di Franco Zuccarelli della sua prima maniera. 71. Lavoratone di Monache: opera bellissima di Alessandrino Ma-gnasco detto il Lisandrino Genovese ^ 72. Due figure di Scuola Giorgionesca. 73. Tratoria o cucina : opera di Al. Maignasco detto il Lisandrino. 74. Altre due figure di scuola Giorgion

  

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Identifier: notizieintornoal00verc

Title: Notizie intorno alla vita e alle opere de'pittori, scultori e intagliatori della città di Bassano

Year: 1775 (1770s)

Authors: Verci, Giambatista, 1739-1795

Subjects: Artists Art Painting

Publisher: In Venezia : Appresso G. Gatti

Contributing Library: Getty Research Institute

Digitizing Sponsor: Getty Research Institute

  

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cesco Marinali Scult. 296. Francesco Nasocchìo Pitt. 28. Francesco da Ponte il Vecchio Pitt. 35. Francesco da Ponte il,Giovine Pitt. 153. Francesco Trivellini Pict. 265. Giacomo Appolonio Pitt. 229. Giacomo Guadagnine Pitt. 235. Giacomo Nasocchìo Pitt. 28. Giacomo da Ponte Pitt. 39. Giacomo Scajario Pitt.. 223. Giambatista da Ponte Pitt. 213. Giambatista Volpato Pitt. 243. Giovanni Bresola .Pitt. 26^. Giovanni Goffrè Pitr. 240* Giovanni Volpato Intagl. 300. Girolamo Bernardon Pitt. 263. Girolamo da Ponte Pitt. 207. Giulio GoLini Pitt. 274. Giulio Martinelli Pitt. 218. Giuseppe Graziani Pitt. 272. Giu~ vi Giuseppe Nasocchio Pitt-. 31. Leandro da Ponte Pitt. 182. Luca Martinelli Pitt. 218. MarcAntonio Appollonio Pitt. 230. MarcAntonio Dordi Pitt. 239. Marco Martini Pitt. IT. Marco Menarola Pitt. 238. MARTINELLO PlTTOR . 9. Nicolo Nasocchio Pitt. 28. Nicola de Nicoli Pitt. 242. Orazio Marinali Scùlt. 285. Perina Mante Pitt. 270. Pietro Menarola Intagl. 238. Teodoro Viero Intagl. 509.

 

Text Appearing After Image:

NOI VII NOI RIFORMATORIDello Studio di Padova. À Vendo veduto per la Fede di Revifìone , edr\_ Approvazione del P. F. Gio: Tommafo Ma-cberoni Inquifitor General del Santo Offizio diinezia , nel Libro intitolato : Notizie intornoIla Vita, e alle Opere de Pittori, Scultori, § In-agliatori della Città di Bajffano ec. MS. non vifler cofa alcuna contro la Santa Fede Cattolica,parimenti per Atteftato del Segretario Noftro ,iente contro Principi, e buoni cofturni , conce-iamo Licenza a Giovanni Gatti Stampator direnezia, che poflì efiere ftampato, oflervando glirdini in materia di Stampe, e prefentando le lo-ite Copie alle Pubbliche Librarie di Venezia, eli Padova. Dat. li io. Aprile 1775. Girolamo Grimanì Rìff.Sebaftian Fofcarini Cav. Rijf. Regiftrato in Libro a Carte 184. al N. 252. Davìdde Marche/ini Segn Adi J2. Aprile 1775.Regiftrato nel Magitìr. Eccell. contro la Be-ftemia a Carte 57. Gie: Pietro Dolfin Segr. ERRA- ERRATA. CORRIGE Pag. • y, Sin. 1. ed altri e ad altri 47- *3

  

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Leandro Bassano

 

c. 1585

Identifier: 26836720.5321.emory.edu

Title: Italy: handbook for travellers. First Part (Northern Italy)

Year: 1872 (1870s)

Authors: Karl Baedeker (Firm)

Subjects:

Publisher: Coblenz : K. Baedeker

Contributing Library: Emory University, Manuscript, Archives and Rare Book Library

Digitizing Sponsor: Emory University, Manuscript, Archives and Rare Book Library

  

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e Romanesque style (entrance on the S. side), with ancientportals supported by lions on the N. and S. sides. Adjoining the N.portal is the rich Renaissance facade of the chapel of the Colleoni.The church contains some ancient pictures , fine * carved work onthe choir-stalls, admirable inlaid wood (intarsia) by the Bergamas-que (Jiov. Franc. Capo Ferrato , and the handsome monuments ofthe celebrated composer Donizetti of Bergamo (d. 1848), by Vine.Vel<i. and (opposite) his teacher Uior. Simone Mayr (d. 1845).The adjoining *Cappella Colleoni (shown by the sagrestano of thechurch), in the early Renaissance style , contains the monument ofthe founder Bart. Colleoni (d. 1475), with reliefs representing theBearing of the Cross ; Crucifixion, and Descent from the Cross; abovethem, the gilded equestrian statue of Colleoni; adjacent, the muchsmaller, but beautifully executed monument of his daughter Medea,S. (irata, adjacent to a nunnery, contains fine paintings and reliefs. •1 « w W 3 W

 

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PESCHIERA. 27! Route. 157 On the slope of the hill, in the street leading to the lower town, issituated the Accademia Carrara, a school of art containing modelsand a picture-gallery (open iaily, 10—3). 1st Room: 28. Velasquez, Portrait. — 2nd R.: 79. Leandro Bassano,Monk praying; 85. Vittore Belliniano, Crucifixion; 75. Civetta, St. Chris-topher; 97. Paolo Veronese, St. Christina; 95. Moretto, Holy Family;87. Titian, Sketch. — 3rd R.: 200. Mantegna, Resurrection; 218. Bart.Vivarini, Madonna; 204. Oiov. Bellini, Portrait; 205. Carotlo, Adoration ofthe Magi; 213. Beltraffio, Madonna; 212. Antonello da Messina, St. Sebastian;194. Crivelli, Madonna; 210. Oiov. Bellini, Madonna; 192. Mantegna, Por-trait; *190. B. Luini, Annunciation; 187. Giorgione (?), Portrait; 154. Lor.Lotto, Holy Family; 146. A. Previtali, Madonna; 128. (lima, Saints;*135. Raphael, St. Sebastian (questionable, perhaps Perugino); 104. Fr.Franeia, Bearing of the Cross; 106. Diirer, same subject. — 4th R.: 237.A.

  

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By Leandro da Ponte (Bassano) (1537 - 1622)

Bassano, Italy

Item number: 232

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