JACOPO DA See also:

• PONTE (Ital. for " bridge ")

PONTE See also:

• BASSANO
• JACOPO DA PONTE BASSANO (1510-1592)

BASSANO (1510-1592)  , Venetian painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• BASSANO
• BASSANO, JACOPO DA PONTE (1510-1592)

Bassano . He was educated by his See also:

• FATHER

father, who was himself an artist, and then completed his studies at See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice . On the See also:

• DEATH

death of his father he returned to Bassano and settled there . His subjects were generally peasants and villagers, See also:

• CATTLE (Norman Fr. catel, from Late Lat. capitale, wealth or property, a word applied in the feudal system to movable property and particularly to live stock, and surviving in its wider meaning as " chattel " or " chattle ")

cattle and landscapes, with some portraits and See also:

• HISTORICAL

historical designs . His figures are well designed, and his animals and landscapes have an agreeable See also:

• AIR (from an Indo-European root meaning " breathe," " blow ")
• AIR, or ASBEN

air of See also:

• SIMPLE

simple nature . His compositions, though they have not much eloquence or grandeur, have abundance of force and truth; the See also:

• LOCAL

local See also:

• COLOURS, MILITARY

colours are well observed, the flesh-tints are fresh and brilliant, and his See also:

• CHIAROSCURO (from the Ital. chiaro, Iight or brightness, and oscuro, darkness or shade)

chiaroscuro and See also:

• PERSPECTIVE (Lat. peespicere, to see through)

perspective are unexceptionable . He is said to have finished a See also:

• GREAT

great number of pictures; but his genuine See also:

• WORKS

works are somewhat Tare and valuable—many of those which are called originals being copies either by the sons of Bassano or by others . Bassano's See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style varied considerably during his lifetime . He naturally was at first a copier of his father, but his productions in this style are not of great value . He was then strongly attracted by the lightness and beautiful colouring of See also:

• TITIAN
• TITIAN (c. 1477-1576)

Titian, and finally adopted the style which is recognized as his own . Although he painted few great pictures, and preferred humble subjects, yet his See also:

• ALTAR (Lat. altare, from alias, high; some ancient etymological guesses are recorded by St Isidore of Seville in Etymologiae xv. 4)

altar-piece of the Nativity at Bassano is estimated highly by the best See also:

• JUDGES, THE BOOK OF

judges, and in See also:

• LANZI, LUIGI (1732–1810)

Lanzi's See also:

• OPINION (Lat. opinio, from opinari, to think)

opinion is the finest See also:

• WORK

work of its class .