All BORDONE, Paris's oil paintings
ID Image  Oil Pantings, Sorted from A to Z     Other Information
63835  
BORDONE, Paris, Allegory
  		Allegory 1558-60 Oil on canvas, 110 x 131 cm The Hermitage, St. PetersburgArtist:BORDONE, Paris Title: Allegory Painted in 1501-1550 , Italian - - painting : mythological
5240  
BORDONE, Paris, Allegory ghyj
  		Allegory ghyj 1558-60 Oil on canvas, 110 x 131 cm The Hermitage, St. Petersburg
30979  
BORDONE, Paris, Hieronimus Kraffter ou Crofft,marchand d'Augsbourg
  		Hieronimus Kraffter ou Crofft,marchand d'Augsbourg mk70 Toile H.1.07 L.0.86 Paris,Musee du Louvre
5241  
BORDONE, Paris, Nude intp
  		Nude intp Pencil and chalk on paper, 32 x 20 cm Galleria degli Uffizi, Florence
5242  
BORDONE, Paris, The Presentation of the Ring fdhfd
  		The Presentation of the Ring fdhfd 1534 Oil on canvas, 370 x 301 cm Gallerie dell'Accademia, Venice
5244  
BORDONE, Paris, The Venetian Lovers
  		The Venetian Lovers Oil on canvas, 95 x 80 cm Pinacoteca di Brera, Milan
5243  
BORDONE, Paris, Venus and Mars with Cupid
  		Venus and Mars with Cupid 1559-60 Oil on canvas, 118 x 130,5 cm Galleria Doria-Pamphili, Rome
BORDONE, Paris
Italian High Renaissance Painter, 1500-1571 Bordone was born at Treviso, but had moved to Venice by late adolescence. He apprenticed briefly and unhappily (according to Vasari) with Titian. Vasari may have met the elder Bordone. From the 1520s, we have works by Bordone including the Holy Family in Florence, Sacra Conversazione with Donor (Glasgow), and Holy Family with St. Catherine (Hermitage Museum). The St. Ambrose and a Donor (1523) is now in Brera. In 1525-6, Bordone painted an altarpiece for the church of S. Agostino in Crema, a Madonna with St. Christopher and St George (now in the Palazzo Tadini collection at Lovere). A second altarpiece, Pentecost, is now in Brera gallery. In 1534-5, he painted his large-scale masterpiece for the Scuola di San Marco a canvas of the Fisherman delivering the Marriage Ring of Venice to the Doge (Accademia). However, when this latter painting is compared to the near-contemoporary, and structurally similar, Presentation of the Virgin, Bordone's limitations, his use of superior perspective, which creates dwarfed distant perspectives, and limited coloration relative to the brilliant tints of Titian. Bordone is best at his smaller cabinet pieces, showing half-figures, semi-undressed men and women from mythology or religious stories in a muscular interaction despite the crowded space.



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