Alla Vincenzo Catenas Oljemålningar
ID Bilder  Oljemålningar Från A till Z     Information
43034  
Vincenzo Catena, A Muslim Warrior Adoring the Infant Christ and the Virgin
  		A Muslim Warrior Adoring the Infant Christ and the Virgin mk170 1520-1525 Oil on canvas 156.3x267.3cm
90881  
Vincenzo Catena, A Warrior adoring the Infant Christ and the Virgin
  		A Warrior adoring the Infant Christ and the Virgin oil on canvas Dimensions Height: 155.3 cm (61.1 in). Width: 263.5 cm (103.7 in). cjr
20200  
Vincenzo Catena, Giangiorgio Trissino (mk05)
  		Giangiorgio Trissino (mk05) Canvas,28 1/2 x 25 1/4''(73 x 64 cm).Given to the Louvre in 1914
84582  
Vincenzo Catena, Portrait of a Young Man
  		Portrait of a Young Man Date between 1505(1505) and 1510(1510) Medium Oil on wood Dimensions Height: 31 cm (12.2 in). Width: 24 cm (9.4 in). cjr
88445  
Vincenzo Catena, Portrait of a Young Man
  		Portrait of a Young Man between 1505(1505) and 1510(1510) Medium Oil on wood cyf
90118  
Vincenzo Catena, Portrait of humanist Gian Giorgio Trissino
  		Portrait of humanist Gian Giorgio Trissino 1510(1510) Medium Oil on canvas Dimensions 28 3/8 x 25 inches (72.14 x 63.50 cm) cjr
88060  
Vincenzo Catena, Portrait of the Doge, Andrea Gritti
  		Portrait of the Doge, Andrea Gritti Oil on canvas Dimensions Height: 97.2 cm (38.3 in). Width: 79.4 cm (31.3 in). cjr
43035  
Vincenzo Catena, Saint Jerome in His Study
  		Saint Jerome in His Study mk170 Circa 1510 Oil on canvas 75.9x98.4cm
355  
Vincenzo Catena, The Supper at Emmaus
  		The Supper at Emmaus 1520/30 Galleria degli Uffizi, Florence
28311  
Vincenzo Catena, The Supper at Emmaus
  		The Supper at Emmaus mk60 Panel 51 3/16"x97 7/8in
Vincenzo Catena
Italian c1480-1531 Vincenzo Catena Location Italian painter. His paintings represent the perpetuation of the style of Giovanni Bellini into the second quarter of the 16th century. He made few concessions to the modern style that was being introduced to Venice by Titian, Palma Vecchio, Pordenone and others in the same period. This archaicizing tendency was shared by several minor Bellinesque painters of the period, including Pietro degli Ingannati, Pietro Duia, Francesco Bissolo, Vittore Belliniano and the Master of the Incredulity of St Thomas. Catena, together with Marco Basaiti, with whose works Catena are sometimes confused, can be considered the most accomplished of these. Despite the fact that he counted several humanists in his circle, the extant repertory of his subjects is limited to religious themes, mainly Marian and including three altarpieces, and to male portraits. The latter, as Vasari observed, include several of his finest works.



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