雅克布·巴萨诺Jacopo Bassano（1510年—1592年2月14日），意大利画家。
的好撒玛利亚人
雅格布da桥,叫做雅克布·巴萨诺-拜》
他出生在1510年的镇Bassano德尔·格拉巴酒位于约65公里的城市威尼斯。本地弗朗西斯科·伊尔维,他的父亲是一个成功的画家建立了一个家庭车间主要生产宗教作品在当地的风格。在他早期的青年Bassano学徒在他父亲的工厂。他最终去到威尼斯在1530年代,在此期间他学习下Bonifazio de Pitati(也称为Bonifazio维罗纳人)和接触等著名艺术家提香和il Pordenone。1539年他父亲去世后他回到Bassano德尔·格拉巴酒和永久居留,甚至当地的妇女,在1546年伊丽莎白·Merzari作为他的妻子。他接管了他的家人的管理车间,后来逐渐包括他的四个儿子,莱安德罗Bassano,弗朗西斯科·Bassano年轻,Giovanni Battista da桥,Girolamo da桥。1592年他去世后,他的儿子继续在他的风格产生了众多作品,让后艺术历史学家很难确定哪些是由雅格布自己和创建工作的他的后代。
使尤其独特的雅克布·巴萨诺在他的文艺复兴时期的艺术家是他把多样化的艺术影响的能力(包括杜勒,帕米贾尼诺,丁托列托,拉斐尔和很多其它)他的工作尽管他不愿离开家乡的安慰。这是归因于他的接触打印这些艺术家,他是最有可能的一个狂热的收藏家。
还是丝毫不懂加略山的方法
Bassano实验的能力和吸收文体特质与其他当代艺术家是明显的在四个不同时期出现在他的艺术遗产。每个周期显示了艺术家的努力将自己的美学与同行的风格。雅克布·巴萨诺的作品从1530年代初开始。Bonifazio de Pitati传授于他年轻的学生持久升值提香的作品,它的影响显然是在他早期的作品。Bassano最早的绘画表现出一生的痴迷鲜亮的色彩,他看到在提香的作品开始,特别是在Bassano的晚餐以马忤斯(1538)。在这个委员会一个当地的教堂,Bassano让画布上充满了丰富、明亮的颜色,帮助区分数据从他们的周围环境。他脱了与他同时代的实践将基督的图对后面的场景,让周围的外行的成分发挥更重要的作用。他们也是独有的裙子。相反的衣服他的数据覆盖,不成形的面料许多文艺复兴时期的艺术家等同于古典罗马时装,Bassano选择特性数据在16世纪的服装。这一块是最经常讨论的细节方面。他艺术历史学家很多包容各种食物表,一只狗躺下和一只猫鬼鬼祟祟地在椅子上,以及无数次要人物证明Bassano从生活的实践,而不是依靠文体惯例的年龄。
Bassano的作品《最后的晚餐》(1542)是一部显示Bassano的新兴趣的趋势怪癖在意大利的艺术。块内可以看到Bassano接触的打印杜勒和绘画拉斐尔,特别是在高度紧张情绪的主题和人物的动态和高度程式化的姿势。矫揉造作者专注于高度发达的设计元素是明显Bassano仔细的布置和“角色”的数据创建一个活跃的成分,引导观众的眼睛在画布上的每个细节。与他早期相比,更多的数据,Bassano的人物最后的晚餐似乎还活着,他们的皮肤似乎隐藏荡漾的肌肉和肌腱,而不是木头,累了自己早期作品的姿势。
雅克布·巴萨诺开始尝试光和他的臣民在1550年代- 1570年代。正是在这一时期,Bassano是第一个艺术家描绘了一幅“夜曲”,或者一幅画在夜间景观与人工照明。这种类型的绘画是非常受当地欢迎观众和Bassano绘画的高度重视。他的作品也开始田园元素上起重要的作用,他从他父亲那里继承来的,从他的环境。他开始展示宗教场景不是在古典罗马设置(如他的文艺复兴时期的同行是不会做)但把数据以一种更自然景观,树木和花儿一样小心翼翼地呈现他的数据。
He was born around 1510 in the town of Bassano del Grappa, located about 65 km from the city of Venice. His father, Francesco il Vecchio, was a locally successful painter who had established a family workshop which primarily produced religious works in the local style. During his early youth Bassano was an apprentice in his father's workshop. He eventually made his way to Venice in the 1530s, during which he studied under Bonifazio de Pitati (also known as Bonifazio Veronese) and was exposed to such famous artists asTitian and il Pordenone. After his father's death in 1539 he returned to Bassano del Grappa and permanently set up residence there, even taking a local woman, Elisabetta Merzari, as his wife in 1546. He took over the management of his family workshop, which would eventually come to include his four sons, Leandro Bassano, Francesco Bassano the Younger, Giovanni Battista da Ponte, and Girolamo da Ponte. After his death in 1592, his sons continued to produce numerous works in his style, making it difficult for later art historians to establish which pieces were created by Jacopo himself and which works were created at the hands of his progeny.
What makes Jacopo Bassano particularly unique amongst his fellow Renaissance artists was his ability to incorporate diverse artistic influences (including Dürer,Parmigianino, Tintoretto, and Raphael, amongst many others) into his work despite his reluctance to leave the comfort of his home town. This is attributed to his exposure to prints by these artists, of which he was most likely an avid collector.[2]
Bassano's ability to experiment and absorb stylistic qualities from other contemporary artists is evident in the four distinct periods seen in his artistic legacy. Each period shows the artist's struggle to reconcile his own aesthetics with the styles of his peers. Jacopo Bassano's early works from about 1530s and onward. Bonifazio de Pitati imparted upon his young pupil a lasting appreciation of Titian's work, the influence of which is clearly seen in his early pieces. Bassano's earliest paintings exhibit his lifelong obsession with brilliant colors that he had seen in Titian's beginning works, particularly in Bassano's Supper at Emmaus (1538). In this commission for a local church, Bassano fills the canvas with rich, luminous colors that help the distinguish the figures from their surrounding environment. He breaks away from the practices of his contemporaries by placing the figure of Christ towards the back of the scene and allowing the lay-people around him to play a more significant part in the composition of the piece. They are also unique in their dress. Instead of clothing his figures in the draping, shapeless fabrics many Renaissance artists equated with Classical Roman fashion, Bassano chose to feature figures in 16th-century clothing. The details of this piece are the most often discussed aspect of it. To many art historians his inclusion of various food on the tables, a dog lying down and a cat slinking around the chairs, as well as numerous secondary characters is a testament to Bassano's practice of drawing from life instead of relying on stylistic conventions of the age.
Bassano's piece, The Last Supper (1542) is a work that shows Bassano's new interest in the trend of Mannerism in Italian art. Within the piece one can see Bassano's exposure to the prints of Dürer and the paintings of Raphael, especially in the highly charged emotions of the subjects and the dynamic and highly stylized posture of the figures. The Mannerist preoccupation with highly developed design elements is evident in Bassano's careful placement and "character" of the figures to create an active composition that leads the viewer's eyes around every detail of the canvas. Compared to his earlier, more staid figures, Bassano's figures in The Last Supper seem alive, their skin seeming to hide rippling muscles and sinews instead of the wooden, tired postures of his early work.
Jacopo Bassano started experimenting with light and his subjects around 1550s–1570s. It was during this period that Bassano was one of the first artists to paint a "nocturne", or a painting in a nighttime landscape with artificial lighting. This type of painting was extremely popular with local audiences and made Bassano paintings highly valued. His works also began to feature more heavily the pastoral elements he had inherited both from his father and from his environment. He began to show religious scenes not in Classical Roman settings (as his Renaissance counterparts were wont to do) but placed the figures in a more natural landscape where the trees and the flowers were as carefully rendered as his figures.
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