Oil On Canvas, Real Flavor of Old Masters

All Paris Bordone 's Paintings
The Painting Names Are Sorted From A to Z

ID Image  Painting (From A to Z)       Details 
51188  
Allegory with Lovers, Paris Bordone
  		 Allegory with Lovers   1550 Oil on canvas, 111,5 x 174,5 cm
90453  
Athena Scorning the Advances of Hephaestus, Paris Bordone
  		 Athena Scorning the Advances of Hephaestus   Oil on canvas (61.78) (Kress Study Collection, K 1112) Date ca. 1555-1560 cyf
43059  
Daphnis and Chloe, Paris Bordone
  		 Daphnis and Chloe   mk170 1538-1540 Oil on canvas 135.9x120.6cm
87007  
Madonna and Child with Saints, Paris Bordone
  		 Madonna and Child with Saints   1535(1535) Medium Oil on poplar cyf
91876  
Madonna with Sleeping Child, Paris Bordone
  		 Madonna with Sleeping Child   1540 - 1560 Medium oil on canvas Dimensions 69.5 X 83.5 cm (27.4 X 32.9 in) cjr
43048  
Portrait of a Young Woman, Paris Bordone
  		 Portrait of a Young Woman   mk170 Oil on canvas 106.7x85.7cm
122  
Presentation of the Ring to the Doges of Venice, Paris Bordone
  		 Presentation of the Ring to the Doges of Venice   1534 Galleria dell'Accademia, Venice
32571  
Recreation by our Gallery, Paris Bordone
  		 Recreation by our Gallery   mk79 1545
83383  
The Annunciation, Paris Bordone
  		 The Annunciation   1555(1555) Medium Oil on canvas Dimensions Height: 99 cm (39 in). Width: 134 cm (52.8 in). cyf
40355  
The Fisheman Presenting the Ring to the Doge Gradenigo, Paris Bordone
  		 The Fisheman Presenting the Ring to the Doge Gradenigo   mk156 1534 Oil on canvas 370x300cm
41180  
Two Lovers, Paris Bordone
  		 Two Lovers   mk157 c.1525-30 Oil on canvas 95x80cm
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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