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The Crowning with Thorns
Oil on slate. 1590 - 1598
Bassano, Leandro
The Crowning with Thorns
Oil on slate. 1590 - 1598
Bassano, Leandro

The composition is derived from a Cristo incoronato di Spine done by Jacopo Bassano towards 1589-1590 (Rome, private collection), in which Ballarin clearly sees the influence of Titian´s Christ Crowned with Thorns (Munich, Alte Pinakothek, inv. 2272). The Galleria Sabauda in Turin houses a bottega replica which, like the Prado version, is painted on slate.Several aspects of the painting justify it

Lazarus and Dives
Oil on canvas. Ca. 1570
Bassano, Leandro
Lazarus and Dives
Oil on canvas. Ca. 1570
Bassano, Leandro

The parable of Lazarus (Luke 16: 19-31) has been interpreted in many ways: an apology of charitable works; a comparison between salvation and perdition, and between gentiles (Lazarus) and Jews (Epulon, the rich man); and the dogs who lick Lazarus´s sores have even been held to be an allusion to the Dominican preachers and their miraculous cures. Aikema has provided examples of sermons and contempo

Embarkation of the Doge of Venice
Oil on canvas. After 1595
Bassano, Leandro
Embarkation of the Doge of Venice
Oil on canvas. After 1595
Bassano, Leandro

This painting, also known as the Embarkation of the Doge in the Riva degli Schiavoni, is dated after 1595, the year Leandro was ennobled, since the signature denotes his knightly status. In the 17th century, two works with similar characteristics depicting this theme arrived in Spain and are today housed at the Museo Nacional del Prado and the Real Academia de Bellas Artes de San Fernando (n. 546)

The Rape of Europa
Oil on canvas. Late XVI century
Bassano, Leandro
The Rape of Europa
Oil on canvas. Late XVI century
Bassano, Leandro

The lack of an autograph work of this theme by Jacopo suggests that the idea for the composition came from Francesco at the end of the 1570s, by which time he had gained greater independence from his father and found a Venetian clientele who was receptive to this subject matter. Two further versions are known: one hangs in the Galleria degli Uffizi (inv. 6.219), and the other was auctioned in 1976

The Marriage at Cana
Oil on canvas. XVI century
Bassano, Leandro
The Marriage at Cana
Oil on canvas. XVI century
Bassano, Leandro

There is a print by Pietro Monaco (1707-1772), published by Guglielmo Zerletti in Venice in 1763, which reproduces a painting of the Marriage at Cana then attributed to Jacopo and owned by the lawyer Giulio Crivellari. In Spain, a composition with the same title though smaller (112 x 84 cm approximately) was listed in the 1711 inventory of the 9th Duke of Medinaceli. The original painting, probabl

Magistrate with Crucifix
Oil on canvas. Ca. 1600
Bassano, Leandro
Magistrate with Crucifix
Oil on canvas. Ca. 1600
Bassano, Leandro

In 1648 Carlo Ridolfi began his biography of Leandro Bassano by praising his talent as a portraitist (particolarmente eccellente ne`ritratti). This skill was generously acknowledged during his lifetime and led him to be ennobled in 1595 for his Portrait of Doge Marino Griman (Dresden, Gemäldegalerie). Initially close to the style of Jacopo Tintoretto, Leandro developed under the influence of

Portrait of Jacopo Bassano
Oil on canvas. First quarter of the XVII century
Bassano, Leandro
Portrait of Jacopo Bassano
Oil on canvas. First quarter of the XVII century
Bassano, Leandro

Although in 1660 Boschini mentioned a Self-Portrait of Jacopo Bassano in the Aromatario collection in Venice, the only surviving versions are replicas attributed to Leandro. The Prado work is identical to the one housed at the Galleria degli Uffizi in Florence (inv. 1.825; at times attributed to Francesco); there is a third known version that is very similar to the first two but of greater iconogr

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