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have made him 60 around the time of his death. In this last decade of his painting career, his composition became slightly more developed and more in tune with the contemporary style but remained heavily influenced by the quattrocento style. During this time he mainly focused on portraits, which were the area where he was best able to adapt his style to the changing times. Landscapes started to decline in importance in his paintings although their presence never disappeared completely.
161:
152:. The latter is thought to be a copy of a painting by Cima da Conegliano which presents yet one more important artistic influence in Marco Basaiti’s life. For the most part Basaiti focused on religious themes rarely delving into mythological or historical topics. Despite this his style seems fairly contemporary with complex composition and correct proportions.
274:
painting blended more fluidly. This gradual shift towards softer lines and an emphasis on natural lighting was the popular style developing during this era. The quattrocento style in which
Basaiti was trained was declining in popularity, and his attempts to incorporate some of the new techniques can be seen particularly in his later works.
135:
that Alvise had left uncompleted. Typically only major assistants working in the studio would have been asked to do this type of work which suggests that
Basaiti was closely connected to Alvise by this time. Additionally, Basaiti's work seems to be influenced stylistically by both Vivarinis, further
293:
This was
Basaiti's last period and no paintings have been dated after 1530. Basaiti appears on a ledger for a painters guild in 1530 but there is no known mention of him after this ledger and he is presumed to have died in the early years of that decade. According to current estimations, this would
179:
Stylistically there are strong influences from his two proposed mentors in the composition of his paintings, with
Bartolomeo specifically influencing his figure design. Notable features of the Antonellian include strong geometric forms and sharp contrast in lighting. Furthermore, in accordance with
108:
reported. In either case this explains the variety of names
Basaiti is known by because the Greek and Albanian communities, and other foreign communities, for the most part kept to themselves and do not often appear on Venetian records. A will dated 1526 may provide evidence of his family, but the
273:
Continuing his emphasis on the use of landscapes in paintings, backgrounds became more integrated into the overall painting but the influence of
Bellini and of Netherlandish painters is still apparent. As Basaiti’s style developed, the light in his pictures became softer and the components of the
139:
Basaiti was influenced by a variety of great artists that lived during this era. For example, he began to incorporate more extensive landscapes into his backgrounds, taking inspiration from
Giovanni Bellini. In fact, some of Bellini’s older works were misattributed to Basaiti for a long period of
68:
believed that Marco
Basarini and Marco Basaiti were two artists, but later information reveals that these two were in fact the same painter.) There is little documentation on Marco Basaiti besides his painting signatures and a guild's ledger of 1530 that records him as a painter of figures.
180:
the style of his proposed masters, Basaiti’s paintings often feature brightly colored clothing and cool skin tones. Indeed, Basaiti’s early works are very like some of Alvise’s established disciples such as Jacopo da
Valenza which further confirms the link between Basaiti and Alvise.
171:
More than half of
Basaiti's known works come from this first period in his painting career. This period comes right after his training and is marked by a constantly changing style as Basaiti experiments with his art to find his own personal style. This era is marked by the
308:
Some call Basaiti one of the last masters of the early Renaissance and his works demonstrate a refined quattrocento style. However, despite his best efforts, his works are still generally considered to be one step behind the trends of the Venetian painting of that time.
1119:
L'opinione di F. Babinger (*) secondo cui il pittore veneziano Marco Basaiti, il quale operò intorno agli anni 1500-1530, fosse di origine albanese, a mio avviso trova conferma nel fatto che Bazaiti appare ancor oggi come nome di famiglia nella città di
1043:
Of a somewhat later date and severer style was Marco Basaiti, who was born of Greek parents in Venice, and who was a pupil and assistant of Luigi Vivarini and later Giovanni Bellini, whose influence in the softness of his later works can be easily
203:(1495), the screen behind the figure has been completely removed and the landscape given more importance. In addition to developing a more complex landscape composition, Basaiti appears to become more concerned with spatial consistency after 1500.
194:
Around 1500, the influence of the Antonellian school becomes less distinct. Basaiti’s backgrounds become more developed demonstrating the influence of Giovanni Bellini and Northern artists. This development can be seen in paintings such as in
206:
This change to more expressive landscapes coincided with Albrecht Dürer's stay in Venice during 1505–1506. It has been suggested that the landscape style Basaiti adopted is more influenced by Netherlandish paintings than by Bellini.
235:. This piece in particular marked the beginning of his mature period and is considered by Vasari and many later critics to be one of his best pieces. Unlike the portraits which up until now had been his main artistic endeavors, the
210:
As Basaiti continued to mix the styles of Alvise and Bellini his paintings become comparable to Cima da Conegliano. However, Basaiti arrived at this mix of styles after Cima and he was never able to exert the same influence.
230:
This period represents the most cohesive time stylistically for Basaiti's paintings. It was a prosperous decade for Basaiti and included several large commissions such as the high altarpiece at Sant'Andrea della Certosa, the
239:
is a narrative painting which requires more complex composition, and features a detailed and expansive landscape. Although Basaiti tried to compose narrative paintings later on, none were as successful as this first one.
258:
This represents a large commission as the altarpiece of the Foscari in San Giobbe. This altarpiece is set up next similar pieces by Giovanni Bellini and the influence from Bellini in Basaiti's painting is obvious.
1769:
219:
109:
connection between Basaiti and this will is debated. Due to this lack of documentation, not much is known about Basaiti's life, except what scholars can learn about the artist through his art.
183:
262:
Later, during this period, Basaiti’s paintings became more focused and returned to one-figure paintings as intricacies of narrative paintings proved to be too difficult. As seen in the
144:’s stay in Venice, Basaiti’s style shifted somewhat towards more complex and dramatic landscapes with less of an emphasis on the figures in the painting. This style can be seen in the
127:
as Basaiti's earlier pieces are thought to reflect Bartolomeo's style and composition. After Bartolomeo died in the late 1490s, it is thought that Basaiti began working with
1094:
112:
775:
The table is ordered by date and those with a range of dates were ordered based on their earliest estimated date. Those with no determined dates were listed last.
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His works are mainly portraits and religious subjects. There is no known painting attributed to Marco Basaiti with a mythological theme. Although trained in the
1151:
Trained in the same school was the Greek Marco Basaiti, from whom we find a smaller replica of the artist's large painting which is now in the Academy at Venice
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set up there their own school, which they called "Scuola degli Albanesi" (School of the Albanians). Their textbooks were the works of the Albanian Humanists:
1970:
1553:
140:
time. Another likely influence for Basaiti’s more complex backgrounds is the work of Netherlandish painters. Specifically, it has been noted that after
1975:
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BASAITI, (Marco del Friuli,) an Italian painter, a native of Friuli, whence his designation. He was born of Greek parents, and flourished about 1510
1517:
131:, Bartolomeo's nephew. This is supported by the fact that when Alvise died in 1505, Basaiti was commissioned to finish the altar piece entitled
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1960:
1950:
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1980:
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Basaiti, Marco. It is not known whether this artist was born at Friuli or Venice. He was of Greek parentage. Flourished from 1496 to 1520.
1955:
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blends many of the influences throughout Basaiti's life and exhibits his progress towards more organic lighting and forms.
243:
1965:
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Marco Basaiti, or Baxaiti, born at Venice of a Greek family ... His works are delicate in finish and exquisite in color.
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Marco Basaiti who was indeed born of Greek parents, in Friuli, c. 1470 and was a follower of Giovanni Bellini
282:
1940:
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860:
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1945:
270:, while many aspects of Basaiti’s former success remain, the painting features only one main figure.
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37:
1193:(1465-1525). Some international academics have referred to them and their Albanian descent.
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1209:
995:
1934:
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University of Michigan, PhD dissertation. ProQuest Dissertations and Theses Global.
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which once again demonstrates Basaiti's ability to compose narrative scenes. The
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915:
Marco Basaiti: A Study of the Venetian Painter and a Catalogue of His Works.
176:(1495) which represents his first finished piece as an independent painter.
97:
1189:(1460-1512). The most renowned painters were Marco Basaiti (1496-1530) and
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1249:
934:
317:
There are approximately 30 known pieces currently attributed to Basaiti.
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BARTOLOMMEO VENETO (See VENETO) BASAITI Though of Greek parentage Marco
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Another notable example of Basaiti’s work with narrative pieces is the
25:
80:
style which forced him to attempt to adapt his style to stay current.
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http://www.oxfordartonline.com/subscriber/article/benezit/B00013063
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http://www.oxfordartonline.com/subscriber/article/grove/art/T006679
609:
Madonna and Child with Saint John the Baptist and Saint Liberalis
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1680:"Madonna and Child with St. John the Baptist and St. Liberalis"
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Ashmolean Museum of Art and Archaeology, University of Oxford
1878:
This article incorporates text from a publication now in the
1774:
Ashmolean Museum of Art and Archaeology -University of Oxford
1117:. Centro di studio per la dialettologia italiana. p. 6.
76:
style, Basaiti's career began right at the beginning of the
1446:"Madonna col Bambino e i santi Chiara e Francesco d'Assisi"
1211:
Painters, Sculptors, Architects, Engravers, and Their Works
1054:
1052:
959:
957:
955:
988:
986:
1770:"Paintings Collection: Marco Basaiti, Head of the Virgin"
1268:
Manual of the Jarves Collection of Early Italian Pictures
136:
implying the link between Basaiti and these two masters.
1518:"Past Auction, Portrait of a Young Man, Marco Basaiti"
427:
Madonna and Child with Saint Chiara and Saint Francis
44:
who worked mainly in Venice and was a contemporary of
52:. He has been referred to by several names including
997:
The lives of the painters, sculptors, and architects
500:
Alte Pinakothek, Bayerische Staatsgemäldesammlungen
1087:Fabio Maniago (conte di.); Caterina Furlan (1999).
567:Christ Praying in the Garden (Agony in the Garden)
1095:Fondazione Cassa di Risparmio di Udine e Pordenone
994:
1482:"Madonna and Child with a Donor by Marco Basaiti"
1061:A New General Biographical Dictionary, Volume III
612:Muzeum Palacu Krola Jana III w Wilanowie, Warsaw
966:Drawings by old masters at Christ Church, Oxford
1410:"Virgin and Child, with Saint James the Great"
1015:Marco Basaiti, born in Venice of Greek parents
859:. Oxford University Press. Web. 25 Apr. 2017.
88:Marco Basaiti was born around 1470, in either
838:. Oxford University Press. Web. 4 Apr. 2017.
8:
939:Rijksbureau V. Kunsthistorische Documentatie
514:Fitzwilliam Museum, University of Cambridge
399:Virgin and Child with Saint James the Great
297:One exception to this trend is the painting
123:There is evidence that Basaiti trained with
668:The State Hermitage Museum, St. Petersburg
1698:"Marco Basaiti- Madonna Adoring the Child"
119:, Alvise Vivarini and Marco Basaiti, 1503
319:
199:(1505), where, in contrast to his first
1893:. London and New York: Frederick Warne.
1242:The Praeger encyclopedia of old masters
1099:Veneziano di probabile origine albanese
783:
707:Saint Peter Enthroned with Four Saints
1907:
1896:
1644:"Ritratto di gentiluomo con pelliccia"
1314:"Giovanni Bellini Style and Technique"
556:Georgia Museum of Art, Athens Georgia
84:Personal life, training, and influence
1806:"St. Peter Enthroned and Four Saints"
1428:"Portrait of Doge Agostino Barbarigo"
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1788:"The Lamentation of the Dead Christ"
1214:. Houghton, Mifflin and Co. p.
1114:Problemi di morfosintassi dialettale
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626:National Gallery of Art, Washington
413:Portrait of Doge Agostino Barbarigo
581:Portrait of a Gentleman with a Cap
1971:Italian people of Albanian descent
14:
766:Musée des Beaux-Arts, Strasbourg
724:Santa Maria della Salute, Venice
651:Portrait of a Gentleman in Black
133:St. Ambrose Enthroned with Saints
1976:Venetian people of Greek descent
1734:"Ritratto di gentiluomo in nero"
1572:"Calling of the Sons of Zebedee"
1396:The Museum of Fine Art, Budapest
1090:Storia delle belle arti friulane
968:. Clarendon Press. p. 193.
752:Galleria dell'Accademia, Venice
570:Galleria dell'Accademia, Venice
528:Galleria dell Accademia, Venice
525:The Call of the Sons of Zebedee
146:Lamentation over the Dead Christ
1846:Fondazione Musei Civici Venezia
1468:Fondazione Musei Civici Venezia
1392:"Saint Catherine of Alexandria"
1137:The Art of the Vienna Galleries
1029:The Art of the Munich Galleries
830:Mauro Lucco. "Basaiti, Marco."
749:Dead Christ between Two Angels
693:The Lamentation of Dead Christ
542:Szépmüvészeti Múzeum, Budapest
455:Madonna and Child with a Donor
416:Szépmüvészeti Múzeum, Budapest
388:Szépmüvészeti Múzeum, Budapest
1926:Marco Basaiti on Artcyclopedia
1626:"Christ Praying in the Garden"
1554:"Virgin and Child with Saints"
1135:Preyer, David Charles (2008).
1027:Ansell, Florence Jean (2008).
385:Saint Catherine of Alexandria
237:Calling of the Sons of Zebedee
96:. His family was of either of
1:
1961:16th-century Italian painters
1951:15th-century Italian painters
1594:Museum of Fine Arts, Budapest
1432:Museum of Fine Arts, Budapest
1206:Waters, Clara Erskine Clement
1063:. BiblioBazaar. p. 293.
853:Benezit Dictionary of Artists
511:Virgin and Child with Saints
1270:. BiblioBazaar. p. 71.
1244:. F.A. Praeger. p. 27.
1139:. BiblioBazaar. p. 39.
696:Museum of Fine Arts, Boston
469:Altarpiece of Saint Ambrose
150:St. Jerome in the Wilderness
1986:16th-century Greek painters
1981:15th-century Greek painters
1752:"Lamentation-Marco Basaiti"
1296:"Biography- BASAITI, Marco"
1294:Krén, Emily; Marx, Daniel.
1031:. READ BOOKS. p. 229.
637:The Resurrection of Christ
441:Portrait of a Man in a Cap
402:Philadelphia Museum of Art
233:Call of the Sons of Zebedee
117:Altarpiece of Saint Ambrose
2002:
1792:Museum of Fine Arts Boston
1500:"Altarpiece of St Ambrose"
1414:Philadelphia Museum of Art
1356:"The Virgin and the Child"
623:Madonna Adoring the Child
1486:Find the Data, Graphic IQ
1374:"Portrait of a Gentleman"
1338:"Portrait of a Young Man"
1266:Sturgis, Russell (2008).
1059:Rose, Hugh James (2008).
964:Shaw, James Byam (1976).
676:No date given on website
215:Middle period (1510–1520)
1890:The Nuttall Encyclopædia
1716:"Resurrezione di Cristo"
1240:Fernau, Joachim (1959).
993:Vasari, Giorgio (1963).
483:Portrait of a Young Man
373:Providence, Rhode Island
368:Portrait of a Gentleman
357:National Gallery London
343:National Gallery London
340:Portrait of a Young Man
278:Late period ( 1520–1530)
156:Early period (1495–1510)
1860:"Saint Jérôme pénitent"
1662:"Redentore benedicente"
1558:The Fitzwilliams Museum
710:San Pietro di Castello
201:Portrait of a Young Man
197:Portrait of a Young Man
188:Portrait of a Young Man
174:Portrait of a Young Man
165:Portrait of a Young Man
1756:State Hermitage Museum
1169:. Onufri. p. 15.
763:Penitent Saint Jerome
290:
251:
248:Resurrection of Christ
227:
191:
168:
120:
30:
1956:Italian male painters
1612:Georgia Museum of Art
1608:"From the collection"
1163:Ferid Hudhri (2003).
738:Museo Correr, Venice
444:Museo Correr, Venice
354:The Virgin and Child
285:
246:
222:
186:
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115:
36:(c. 1470–1530) was a
22:
1966:Painters from Venice
1360:The National Gallery
1342:The National Gallery
24:Call of the Sons of
1166:Albania Through Art
679:Head of the Virgin
486:Private collection
224:Agony in the Garden
125:Bartolomeo Vivarini
1828:Web Gallery of Art
1810:Web Gallery of Art
1630:Web Gallery of Art
1576:Web Gallery of Art
1504:Web Gallery of Art
1300:Web Gallery of Art
913:Bonario, Bernard.
851:"BASAITI, Marco."
640:Accademia Carrara
553:Madonna and Child
291:
264:Resurrected Christ
252:
228:
192:
169:
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50:Cima da Conegliano
31:
1906:Missing or empty
1899:cite encyclopedia
1277:978-0-554-70267-4
1176:978-99927-53-67-5
1146:978-0-559-69564-3
1070:978-0-559-38853-8
1038:978-1-4437-5543-6
857:Oxford Art Online
836:Oxford Art Online
773:
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654:Academia Carrara
598:Academia Carrara
595:Blessed Redeemer
584:Academia Carrara
517:Tempera on panel
461:Tempera on panel
458:Location unknown
447:Tempera on panel
430:Academia Carrara
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665:The Lamentation
323:Date attributed
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268:Blessed Redeemer
256:Agony of Christ.
46:Giovanni Bellini
38:Venetian painter
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1885:Wood, James
1842:"File 2355"
1684:WikiCommons
1464:"File 2338"
1378:RISD Museum
303:Lamentation
287:Lamentation
226:, 1510–1516
104:origin, as
78:cinquecento
42:Renaissance
1935:Categories
1866:12 January
1323:2017-10-03
779:References
606:1518–1519
578:1515–1516
564:1510–1516
452:1501–1502
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337:1495–1500
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1011:175078002
329:Location
326:Painting
1208:(1881).
760:No Date
746:No date
732:No date
718:No date
704:No date
690:No date
266:and the
98:Albanian
40:of the
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1120:Delvina
1044:traced.
974:2633502
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382:1500
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332:Type
313:Works
102:Greek
1912:help
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1272:ISBN
1246:OCLC
1220:OCLC
1171:ISBN
1141:ISBN
1065:ISBN
1033:ISBN
1007:OCLC
970:OCLC
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148:and
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
