Paris Bordone

Italian 1500-1571 Italian painter and draughtsman. He is best known for his strikingly beautiful depictions of women, both in portraits and in cabinet paintings. He also excelled in rendering monumental architectural settings for narrative, both religious and secular, possibly initiating a genre that would find great currency during the mid-16th century, especially in Venice, France and the Netherlands. His favoured media were oil and fresco, the latter being used on both interiors and faades. Although he was not generally sought after by Venetian patrons during his career, as his art was eclipsed by that of Titian, Paolo Veronese and Jacopo Tintoretto, Bordone was regarded in the mid-16th century as an accomplished artist (Pino; Sansovino). He worked for the moneyed lite of northern Italy and Bavaria, for the royalty of France and Poland, and had works commissioned to be sent to Spain and to Flanders. Despite knowledge of the important patrons for whom he worked, the chronology of Bordones oeuvre is by no means clear. Dating on stylistic grounds is confounded by the diverse sources on which he drew, ranging from the Emilian, Lombard and Venetian to the French and northern European, depending on the patron. Due to the ease with which prints circulated during Bordones career, it is difficult to ascertain whether influences were derived at first hand or from printed images. Such difficulties in assigning dates are further exacerbated by his use of the same figure study for numerous paintings evidently executed decades apart. Reliance on the testimony of Vasari, who interviewed Bordone in 1566, in conjunction with the extant documents, the few signed and dated paintings and, to a lesser extent, period fashion provides only a rough outline of his activity. Due to the lack of agreement among scholars regarding chronology, the following account is based mainly on the documentary evidence.


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Paris Bordone Presentation of the Ring to the Doges of Venice oil


Presentation of the Ring to the Doges of Venice
Painting ID::  122
Presentation of the Ring to the Doges of Venice
1534 Galleria dell'Accademia, Venice
1534__ Galleria_dell'Accademia,_Venice
   
   
     

Paris Bordone Recreation by our Gallery oil


Recreation by our Gallery
Painting ID::  32571
Recreation by our Gallery
mk79 1545
mk79 1545
   
   
     

Paris Bordone The Fisheman Presenting the Ring to the Doge Gradenigo oil


The Fisheman Presenting the Ring to the Doge Gradenigo
Painting ID::  40355
The Fisheman Presenting the Ring to the Doge Gradenigo
mk156 1534 Oil on canvas 370x300cm
mk156 1534 Oil_on_canvas 370x300cm
   
   
     

Paris Bordone Two Lovers oil


Two Lovers
Painting ID::  41180
Two Lovers
mk157 c.1525-30 Oil on canvas 95x80cm
mk157 c.1525-30 Oil_on_canvas 95x80cm
   
   
     

Paris Bordone Portrait of a Young Woman oil


Portrait of a Young Woman
Painting ID::  43048
Portrait of a Young Woman
mk170 Oil on canvas 106.7x85.7cm
mk170 Oil_on_canvas 106.7x85.7cm
   
   
     

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     Paris Bordone
     Italian 1500-1571 Italian painter and draughtsman. He is best known for his strikingly beautiful depictions of women, both in portraits and in cabinet paintings. He also excelled in rendering monumental architectural settings for narrative, both religious and secular, possibly initiating a genre that would find great currency during the mid-16th century, especially in Venice, France and the Netherlands. His favoured media were oil and fresco, the latter being used on both interiors and faades. Although he was not generally sought after by Venetian patrons during his career, as his art was eclipsed by that of Titian, Paolo Veronese and Jacopo Tintoretto, Bordone was regarded in the mid-16th century as an accomplished artist (Pino; Sansovino). He worked for the moneyed lite of northern Italy and Bavaria, for the royalty of France and Poland, and had works commissioned to be sent to Spain and to Flanders. Despite knowledge of the important patrons for whom he worked, the chronology of Bordones oeuvre is by no means clear. Dating on stylistic grounds is confounded by the diverse sources on which he drew, ranging from the Emilian, Lombard and Venetian to the French and northern European, depending on the patron. Due to the ease with which prints circulated during Bordones career, it is difficult to ascertain whether influences were derived at first hand or from printed images. Such difficulties in assigning dates are further exacerbated by his use of the same figure study for numerous paintings evidently executed decades apart. Reliance on the testimony of Vasari, who interviewed Bordone in 1566, in conjunction with the extant documents, the few signed and dated paintings and, to a lesser extent, period fashion provides only a rough outline of his activity. Due to the lack of agreement among scholars regarding chronology, the following account is based mainly on the documentary evidence.

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