Ažurirano: октобар 2026 · rangirano prema našem koeficijentu popularnosti (pretrage, posete i porudžbine za svako delo) · 86 dela Leandro Basano u našem katalogu
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Portrait of the Merchant Leonhard Hermann (1595) je najpoznatije delo umetnika Leandro Basano; original se nalazi u muzeju Bavarske državne slikopisne kolekcije, Minhen. Magistrate with Crucifix (1600) je na drugom mestu, Departure of Abraham into the Promised Land (1595) na trećem. Naš katalog sadrži 86 dela umetnika Leandro Basano; evo 86 najpoznatijih, rangiranih prema godini i muzeju u kojem se nalaze, kako bi vam pomogli da odaberete onaj koji želite da naručite.
A single quill pen rests against a cream-colored sheet, its tip poised as if waiting for the next command of commerce. Leonhard Hermann sits in the quiet gravity of his own success, a man defined by the documents spread before him. The light falls from the upper left, a sharp beam that carves his features out of the surrounding gloom. It catches the stark white of his ruff collar and…
A man sits in the heavy silence of a dark room. He is a magistrate, his presence defined by the weight of his black garment and the soft, white fur that trims his chest. His face is pale, caught in a sharp light that carves his features from the surrounding gloom. In his right hand, he holds a small book, the pages perhaps recently turned. To his left, a crucifix…
The painting titled Departure of Abraham into the Promised Land is a work by the artist Leandro Bassano, also identified as Leandro da Ponte gen. Leandro Bassano. This piece originates from the Italian and Venetian cultural traditions. It was executed about 1595.
The oil on canvas titled March is a work by the Venetian painter Leandro Bassano. Born in 1557, the artist lived until 1622, capturing the rhythms of life through his brush. This specific painting belongs to his larger series known as the Twelve Months.
A single light source strikes from the upper left, carving the face of Battista Gardalino out of a heavy, ink-dark void. The man sits in a three-quarter pose, his presence anchored by the gravity of his own skin. Every line on his weathered face tells a story of years passed, etched deeply into the pale surface of his cheeks and forehead. He holds a pair of gloves, a quiet gesture…
Leandro Bassano captures a moment of divine friction in Christ Drives the Merchants from the Temple. Painted about 1593, the work focuses on the biblical scene of Christ cleansing the Temple. It is a collision of sacred purpose and worldly commerce. The air in the composition feels heavy with the sudden disruption of the sanctuary.
The room is quiet, held in a heavy, contemplative stillness. Tiziano Aspetti sits before us, his gaze steady and direct, meeting the viewer with a quiet, scholarly intensity. He is a man of substance, draped in a dark doublet that absorbs the light, contrasted sharply by the crisp white of his collar and the patterned grey of his sleeves. A well-groomed beard and mustache frame a face etched with the…
A three-quarter length view of a middle-aged man seated in a wooden chair defines the central composition of this oil portrait. The subject is positioned slightly off-center, creating a sense of depth against a dark, atmospheric background. He wears a white habit, the fabric of which appears as a luminous, stark contrast to the surrounding tones. The folds of the linen are rendered with soft, defined lines that suggest a…
In this oil on canvas from 1597, we find ourselves drawn into a quiet, industrious corner of the Venetian countryside. The scene is one of rhythmic, daily toil, captured under a heavy, overcast sky that lends a certain weight to the atmosphere. In the foreground, the focus rests upon the tactile reality of domestic production. Two women are deeply engaged in their craft; one sits near a wooden spinning mechanism,…
The Crowning with Thorns is an oil painting by Leandro Bassano. Created around 1590, the work captures a heavy, singular moment of biblical history. It depicts the Crowning with Thorns, a scene of profound suffering and ritualized cruelty. The subject remains fixed in a state of tension, caught between the movement of the tormentors and the stillness of the central figure.
Lazarus and Dives1570 · Музеј Прадо
12
Burial of Christ1579 · Kunsthistorisches Museum
13
Summer (July)1597 · Kunsthistorisches Museum
14
August1597 · Kunsthistorisches Museum
15
June1597 · Kunsthistorisches Museum
16
Portrait of the Dogaressa Morosina Morosini1595 · Staatliche Kunstsammlungen Dresden
17
November1597 · Kunsthistorisches Museum
18
May1597 · Kunsthistorisches Museum
19
The Feast of Anthony and Cleopatra1600 · Nationalmuseum
20
Parable of the Rich Man and the Poor Lazarus1592 · Kunsthistorisches Museum
21
The Moneychanger Orazio Lago, His Wife and a Client1600 · Kunsthistorisches Museum
22
Portrait of a Venetian Magistrate1580 · Kunsthistorisches Museum
23
February1597 · Kunsthistorisches Museum
24
April1590 · Kunsthistorisches Museum
25
Portrait of the Pisan Giovanni Magnani1582 · Bavarske državne slikopisne kolekcije
26
The Hebrews Gathering Water Gushing from the Rock1578 · Musée de Grenoble
27
The Adoration of the Magi1574 · Musée d'art et d'histoire de Narbonne
28
Christ with Mary and Martha1589 · Bavarske državne slikopisne kolekcije
29
The Month of July1589 · Bavarske državne slikopisne kolekcije
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The Holy Family1589 · Bavarske državne slikopisne kolekcije
31
Adoration of the Shepherds1593 · Rhode Island School of Design Museum of Art
32
The Dead Christ with Angels1580 · Cleveland Museum of Art
33
Mises Striking the Rock1589 · Bavarske državne slikopisne kolekcije
34
Seasonal allegory with Adam and Eve1580 · Auckland Art Gallery Toi o Tāmaki
35
Christ Appearing to a Nobleman1580 · Harvard Art Museums
36
Fairground1595 · Kunsthistorisches Museum
37
Portrait of a Luteplayer1600
38
Jesus chasing the merchants from the Temple1600 · Palais des Beaux-Arts de Lille
39
Portrait of a Boy with his Tutor1600 · Royal Collection
40
Annunciation to the Shepherds1597 · Statens Museum For Kunst
41
The Wedding at Cana1600
42
Portrait of a Woman, probably Morosina Morosini, Wife of Marino Grimani, the Doge of Venice1595 · Rijksmuseum
43
Saint Francis1590 · Kunsthistorisches Museum
44
January1590 · Kunsthistorisches Museum
45
Doge Marcantonio Memmo (1536–1615)1615 · English Heritage
46
Portrait of a Premonstratensian1605 · Kunsthistorisches Museum
47
Saint Clara1590 · Kunsthistorisches Museum
48
The kitchen1800 · Slovak National Gallery
49
LES NOCES DE CANALuvr
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Portrait of Jacopo Bassano1601 · Музеј Прадо
51
Donor PortraitKunsthistorisches Museum
52
The Last Supper1578 · Santa Maria Formosa
53
Penelope1575 · Musée Des Beaux
54
Man with a Knife1580 · John and Mable Ringling Museum of Art
55
The Return of the Prodigal Son1588 · Bristol Museum - Art Gallery
56
Embarkation of the Doge of Venice1595 · Музеј Прадо
57
Portrait of a Bearded Man1600 · National Gallery
58
The Tower of Babel1600
59
Portrait of the Doge Marcantonio Memmo (1537-1615, Doge since 1612)Städel Museum
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Doge Marcantonio Memmo1612
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Banquet Scene1595
62
St Anne and the Infant St MaryNationalmuseum
63
Portrait of a ManNationalmuseum
64
The Month of JulyBavarske državne slikopisne kolekcije
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Portrait of a Young ManGemäldegalerie
66
Portrait of a ManJohn and Mable Ringling Museum of Art
67
The Visit of the Queen of Sheba to SolomonNational Gallery of Ireland
68
Susanna and the EldersBavarske državne slikopisne kolekcije
69
Portrait of a ManIndianapolis Museum of Art
70
St. ChristopherWalters Art Museum
71
Doge Marino Grimani
72
Orpheus Charming The Animals
73
PENELOPE
74
JESUS CHASSANT LES MARCHANDS DU TEMPLE
75
Little Girl Carrying a Basket1594 · Luvr
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Portrait of a Widow at her Devotions
77
Portrait of a Bearded ManBavarske državne slikopisne kolekcije
78
Honorius III Approving the Rule of St Dominic in 1216Bazilika Svetih Ivana i Pavla
79
Portrait of an Old ManSzépművészeti Múzeum
80
The Tower of BabelNational Gallery
81
St Giacinto Walking on the Water of the River DnieperBazilika Svetih Ivana i Pavla
82
Last JudgmentBirmingham Museum of Art
83
The Birth of the Virgin
84
Moses Striking the RockLuvr
85
Allegory of the Element Earth1580 · Walters Art Museum
86
Madonna del Rosario with Dead Christ, Angels and Rulers1595
Četiri najčešća motiva u ovom rangiranju, sa najboljim delom za svaki od njih.
8 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzej | Grad | Radovi umetnika Leandro Basano | Slike iz ovog spiska |
|---|---|---|---|
 Kunsthistorisches Museum |
Beč | 22 | Departure of Abraham into the Promised Land, March, Christ Drives the Merchants from the Temple |
 Bavarske državne slikopisne kolekcije |
Minhen | 9 | Portrait of the Merchant Leonhard Hermann, Portrait of the Pisan Giovanni Magnani, Christ with Mary and Martha |
 Музеј Прадо |
Мадрид | 5 | Magistrate with Crucifix, The Crowning with Thorns, Lazarus and Dives |
 Nationalmuseum |
Стокхолм | 3 | The Feast of Anthony and Cleopatra, St Anne and the Infant St Mary, Portrait of a Man |
 Luvr |
Pariz | 3 | LES NOCES DE CANA, Little Girl Carrying a Basket, Moses Striking the Rock |
 Palais des Beaux-Arts de Lille |
Lille | 2 | Portrait of Battista Gardalino, Jesus chasing the merchants from the Temple |
 John and Mable Ringling Museum of Art |
Sarasota | 2 | Man with a Knife, Portrait of a Man |
 National Gallery |
London | 2 | Portrait of a Bearded Man, The Tower of Babel |
Izaberite deceniju da biste videli njene najpoznatije slike.
The oil on canvas painting titled Lazarus and Dives was executed by the artist Leandro Bassano. This work dates to about 1570 AD. The medium consists of oil pigments applied to a canvas surface, a technique used to render the varied textures of the scene.
An elderly man sits before us, his gaze fixed directly upon the viewer with a quiet, steady intensity. He is a figure of gravity, likely a Venetian magistrate, caught in a moment of profound introspection. The light enters from the upper left, carving his features out of the surrounding darkness through a dramatic chiaroscuro technique. This single source of illumination catches the edge of his forehead and the bridge of…
A single quill pen rests against a cream-colored sheet, its tip poised as if waiting for the next command of commerce. Leonhard Hermann sits in the quiet gravity of his own success, a man defined by the documents spread before him. The light falls from the upper left, a sharp beam that carves his features out of the surrounding gloom. It catches the stark white of his ruff collar and…
A man sits in the heavy silence of a dark room. He is a magistrate, his presence defined by the weight of his black garment and the soft, white fur that trims his chest. His face is pale, caught in a sharp light that carves his features from the surrounding gloom. In his right hand, he holds a small book, the pages perhaps recently turned. To his left, a crucifix…
A heavy silence settles over the room as we gaze upon Doge Marcantonio Memmo. He sits motionless upon a throne, his figure anchored by the weight of authority and the deep crimson drapery that surrounds him. A long, white beard flows from his face, catching the light, while his gold robe gleams with a quiet, regal luster. In one hand, he holds a scepter, a symbol of the power he…
Portrait of the Merchant Leonhard Hermann (1595), Bavarske državne slikopisne kolekcije, Minhen, zauzima prvo mesto, a prate ga Magistrate with Crucifix (1600) i Departure of Abraham into the Promised Land (1595).
Leandro Basano je imao 38 godina: Portrait of the Merchant Leonhard Hermann je datiran 1595, a Leandro Basano je rođen 1557.
Portrait of the Merchant Leonhard Hermann, Magistrate with Crucifix, Departure of Abraham into the Promised Land, March, Portrait of Battista Gardalino, Christ Drives the Merchants from the Temple, Portrait of Tiziano Aspetti holding a statuette, Portrait of a Premonstratensian, Spinning and Weaving (July) i The Crowning with Thorns. Godina i muzej za svako od njih navedeni su u rangiranju iznad.
U našem katalogu se nalazi 86 dela umetnika Leandro Basano, datiranih od 1570 do 1615.
Pretežno u Kunsthistorisches Museum (Beč), Bavarske državne slikopisne kolekcije (Minhen) i Музеј Прадо (Мадрид). Za kompletnu listu pogledajte tabelu muzeja iznad.
U periodima 1590s: 27 od 86 slika rangiranih ovde datiraju iz tog vremena, uključujući Portrait of the Merchant Leonhard Hermann.
Najstarije na ovoj stranici: Lazarus and Dives (1570). Najnovije: Doge Marcantonio Memmo (1536–1615) (1615).
Među 86 slika rangiranih ovde: Man (14), People (12) i Animals (9).
Oil On Canvas, za 26 od 86 slika rangiranih ovde.
Renaissance i Mannerism, na osnovu slika rangiranih na ovoj stranici.
Kunsthistorisches Museum, Beč poseduje 22 slika sa ovog rangiranja, uključujući Departure of Abraham into the Promised Land, March i Christ Drives the Merchants from the Temple.
Da. Svaka slika na ovoj stranici može se naručiti kao ručno slikana uljana reprodukcija ili kao štampa. Otvorite sliku, odaberite veličinu i izvršite porudžbinu.
Đakopo Karuci, poznatiji kao Đakopo Pontormo, ostaje figura koja budi duboku i često zbunjujuću fascinaciju u istoriji umetnosti. Rođen 1494. godine u malom toskanskom mestu Pontorme blizu Empolija, nije bio predodređen za konvencionalno umetničko vaspitanje. Rano siroče koji je prepodtavljano između različitih florentinskih radionica – prvo kod Leonarda da Vinčija, zatim kod Mariota Albertinelija i Pjera di Kozima, pre nego što je konačno pronašao dom kod Andrea del Sarta – njegovo rano obrazovanje karakterisala je stroga disciplina visoke renesanse. Ipak, uprkos tome što je od ovih cenjenih majstora usvojio principe perspektive, anatomije i klasične kompozicije, Pontormo je na kraju izgradio potpuno svoj put, postajući ključna figura u prelazu ka manierizmu i duboko utičući na generacije umetnika koji su došli nakon njega.
Njegova rana dela, poput Obilaska Device i Svete Elizavete (oko ente 1514-1516), pokazuju jasan dug svojim prethodnicima. Figure su uravnotežene, harmonične i pedantno prikazane unutar pažljivo konstruisanog arhitektonskog okruženja – što su obeležja renesansnog slikarstva. Međutim, čak i u ovim ranim delima počinju se nazirati suptilni tragovi Pontormovog prepoznatljivog stila: izduženi oblici, pojačani osećaj emocije i uznemirujuća ambiguitetnost koja nagoveštava radikalna odstupanja koja će kasnije prihvatiti.
Pontormova umetnička evolucija bila je neraskidivo povezana sa njegovim putovanjima i susretima sa umetnošću severne Evrope. Inspirisan gravurama i drvoreznim printovima umetnika poput Albrehta Dürera i Lukasa van Leydena, koji su u to vreme masovno kružili Italijom, počeo je da eksperimentiše sa opuštenijim, ekspresivnijim pristupom kompoziciji i formi. Ovaj uticaj je posebno evidentan u njegovim kasnijim delima, gde se figure kao da lebde u nedoređenom prostoru, nepovezane ograničenjima gravitacije ili perspektive. Spiralne, zmijaste linije koje karakterišu njegov stil stvaraju osećacije dinamizma i pokreta, oštro kontrastirajući sa statičnom stabilnošću renesansne umetnosti.
Ključno je bilo to što je Pontormo odbacio strogo pridržavanje klasičnih ideala koji su dominirali velikim delom florentinskog slikarstva u tom periodu. On je stavio emocionalni intenzitet ispred anatomske tačnosti, a psihološku dubinu ispred realističnog prikaza. Ovaj zaokret označio je odlučan raskid sa visokom renesansom i čvrsto ga utvrdio kao jednu od ključnih figura u razvoju manierizma – umetničkog pokreta koji karakteriše naglasak na eleganciji, veštačnosti i subjektivnom izrazu.
Iako je bio poznat po svojim religioznim slikama, Pontormo je bio i veoma uspešan portretišta. Njegovi portreti, posebno oni koje je naručila porodica Mediči, prepoznatljivi su po psihološkom uvidu i suptilnim nijansama karaktera. Za razliku od idealizovanih prikaza uobičajenih u renesansnom portretstvu, Pontormovi subjekti poseduju retko dostojanstvo i ranjivost, odražavajući dublje razumevanje ljudskih emocija. Vešto je koristio simboliku – reference na društveni status modela, političku moć ili lična interesovanja – kako bi obogatio narativni kvalitet svojih portreta.
Njegov prikaz članova dvora Medičija, na primer, posebno je upečatljiv. To nisu samo sličice; to su pažljivo konstruisane izjave o moći, bogatstvu i lozbi, prožete osećajem veličanstvenosti i melanholije. Delo Spuštanje sa krsta (1525-1528), naručeno za crkvu Santa Felicità u Firenci, exemplifikuje ovaj pristup, spajajući religioznu ikonografiju sa psihološkom dramom i distinktivnom manierističkom estetikom.
Pontormove poznije godine obeležile su sve veća izolacija i umetnička nemir. Povukao se iz živopisne florentinske umetničke scene, postajući sve povučeniji i uznemireniji. Uprkos ličnim borbama, nastavio je da slika sve do smrti 1557. godine, stvarajući niz emocionalno nabijenih dela koja odražavaju njegov evoluirajući stil i duboki osećaj nelagode. Nedovršeni fresci koje je preduzeo za San Lorenzo u Firenci nude dirljiv uvid u završne faze njegovog umetničkog razvoja.
Uprkos kontroverzama koje su okruživale njegov rad tokom njegovog života – mnogi kritičari su njegov stil odbacili kao haotičan i uznemirujući – Pontormov uticaj na naredne generacije umetnika je neosporan. Njegova pionirska upotreba izduženih figura, ambiguitetne perspektive i ekspresnih boja otvorila je put baroknom periodu i duboko oblikovala tok zapadne umetnosti. On ostaje vitalna figura za razumevanje složenih i transformativnih razvoja koji su se dogodili tokom prelaza iz renesanse u manierizam, kao svedočanstvo njegovog revolucionarnog duha i trajne umetničke vizije.
