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See also: born at Treviso, and entered the bottega of See also: Titian in 1509
.
See also: Vasari, to whom we are indebted for nearly all the facts of See also: Bordone's life—later research has not added much to our knowledge—holds that he did not spend many years with Titian and set himself to imitate the manner of See also: Giorgione to the utmost of his power
.
As a See also: matter of fact, the Giorgionesque traits in Bordone's earlier See also: works are derived entirely from Titian, whom he imitated so closely that to this See also: day some of his paintings pass under Titian's name
.
Crowe and Cavalcaselle and Dr See also: Bode ascribe to Bordone the " See also: Baptism of Christ " in the Capitoline gallery, but See also: Morelli See also: sees in it an early See also: work of Titian
.
See also: Paris Bordone subsequently executed many important mural paintings in Venice, Treviso and See also: Vicenza, all of which have perished
.
In 1538 he was invited to See also: France by See also: Francis I., at whose See also: court he painted many portraits, though no trace of them is to be found in French collections, the two portraits at the Louvre being later acquisitions
.
On his return journey he undertook works of See also: great importance for the See also: Fugger palace at Augsburg, which again have been lost sight of
.
Bordone's pictures are of very unequal merit
.
They have a certain See also: nobility of See also: style, and that See also: golden harmony of colour which he derived from Titian, together with the realistic conception of the human figure and the dignified character of his See also: portraiture
.
On the other See also: hand, his nudes are a little coarse in See also: form, and the See also: action of his figures is frequently unnatural and affected
.
A true See also: child of the See also: Renaissance, he also painted a number of religious pictures, numerous mythological scenes, allegories, See also: nymphs, cupids and subjects from Ovid's fables, but he excelled as a portraitist
.
His See also: principal surviving work is the "Fisherman and See also: Doge" at the Venice See also: Academy
.
The See also: National Gallery, See also: London, has a " See also: Daphnis and Chloe" and a portrait of a lady, whilst a "See also: Holy See also: Family" from his See also: brush is at See also: Bridgwater See also: House
.
Other important works of
his are the " Madonna " in the Tadini collection at See also: Lovere, the paintings in the Duomo of Treviso, two mythological pictures at the See also: Villa See also: Borghese and the See also: Doria palace in See also: Rome, the " See also: Chess Players " in Berlin, a very little-known portrait of superb quality in the possession of the landgrave of Hesse at Kronberg, and a " Baptism of Christ " in See also: Philadelphia
.
Besides these, there are examples of his See also: art in See also: Bergamo, Milan, Genoa, See also: Padua, See also: Siena, Venice, Florence, See also: Munich, See also: Dresden and Vienna
.
Beyond some references in general works on See also: Italian See also: painting, very little has been written on Paris Bordone since the days of Vasari
.
In 1900 the committee of the See also: fourth centenary of Paris Bordone, Treviso, published L
.
Barlo and G
.
Biscaro's Della Vita e delle Opere di Paris Bordone; and the Nuova Antologia (See also: November 16, 1900) , contains a sixteen-page paper on Paris Bordone by P
.
G
.
Molmenti
.
(P
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G
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