231:
195:
124:
31:
255:
294:
305:
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.
172:
163:. 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.
285:
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.
146:
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
304:
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
190:
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
119:
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
284:
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
150:
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
79:
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.
191:
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.
182:
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
319:
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.
1130:
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
1054:
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
214:(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.
205:
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
217:
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.
246:. 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
221:
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.
241:
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
250:
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.
269:
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.
1780:
230:
120:
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.
194:
273:
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
155:’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
138:
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
1105:
123:
786:
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.
83:
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
1162:
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
1192:
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:
1981:
1564:
151:
time. Another likely influence for Basaiti’s more complex backgrounds is the work of Netherlandish painters. Specifically, it has been noted that after
1986:
1086:
BASAITI, (Marco del Friuli,) an Italian painter, a native of Friuli, whence his designation. He was born of Greek parents, and flourished about 1510
1528:
142:, Bartolomeo's nephew. This is supported by the fact that when Alvise died in 1505, Basaiti was commissioned to finish the altar piece entitled
30:
1971:
1961:
1286:
1185:
1155:
1079:
1047:
1996:
1991:
1239:
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.
1966:
316:
blends many of the influences throughout Basaiti's life and exhibits his progress towards more organic lighting and forms.
254:
1976:
1293:
Marco Basaiti, or Baxaiti, born at Venice of a Greek family ... His works are delicate in finish and exquisite in color.
1324:
1895:
1900:
1348:
1909:
1798:
1600:
1438:
1420:
1366:
1852:
1474:
1618:
1402:
383:
1492:
989:
Marco Basaiti who was indeed born of Greek parents, in Friuli, c. 1470 and was a follower of Giovanni Bellini
293:
1951:
1708:
1216:
1384:
871:
850:
1956:
281:, while many aspects of Basaiti’s former success remain, the painting features only one main figure.
810:
135:
1226:
60:
1013:
1762:
1282:
1256:
1230:
1201:
1193:
1181:
1151:
1075:
1043:
1017:
980:
152:
1870:
56:
48:
1204:(1465-1525). Some international academics have referred to them and their Albanian descent.
1936:
1922:
1510:
139:
1546:
1220:
1006:
1945:
1890:
1197:
1690:
1834:
1816:
1582:
932:
University of Michigan, PhD dissertation. ProQuest Dissertations and Theses Global.
84:
1636:
1306:
1744:
1726:
1672:
1654:
1456:
1175:
1123:
1099:
312:
which once again demonstrates Basaiti's ability to compose narrative scenes. The
171:
88:
52:
1234:
1021:
926:
Marco Basaiti: A Study of the Venetian Painter and a Catalogue of His Works.
187:(1495) which represents his first finished piece as an independent painter.
108:
1200:(1460-1512). The most renowned painters were Marco Basaiti (1496-1530) and
984:
1260:
945:
328:
There are approximately 30 known pieces currently attributed to Basaiti.
1265:
BARTOLOMMEO VENETO (See VENETO) BASAITI Though of Greek parentage Marco
265:
Another notable example of Basaiti’s work with narrative pieces is the
36:
17:
91:
style which forced him to attempt to adapt his style to stay current.
116:
112:
104:
100:
76:
872:
http://www.oxfordartonline.com/subscriber/article/benezit/B00013063
851:
http://www.oxfordartonline.com/subscriber/article/grove/art/T006679
620:
Madonna and Child with Saint John the Baptist and Saint Liberalis
292:
253:
229:
193:
170:
122:
29:
1141:
1139:
1691:"Madonna and Child with St. John the Baptist and St. Liberalis"
693:
Ashmolean Museum of Art and Archaeology, University of Oxford
1889:
This article incorporates text from a publication now in the
1785:
Ashmolean Museum of Art and Archaeology -University of Oxford
1128:. Centro di studio per la dialettologia italiana. p. 6.
87:
style, Basaiti's career began right at the beginning of the
1457:"Madonna col Bambino e i santi Chiara e Francesco d'Assisi"
1222:
Painters, Sculptors, Architects, Engravers, and Their Works
1065:
1063:
970:
968:
966:
999:
997:
1781:"Paintings Collection: Marco Basaiti, Head of the Virgin"
1279:
Manual of the Jarves Collection of Early Italian Pictures
147:
implying the link between Basaiti and these two masters.
1529:"Past Auction, Portrait of a Young Man, Marco Basaiti"
438:
Madonna and Child with Saint Chiara and Saint Francis
55:
who worked mainly in Venice and was a contemporary of
63:. He has been referred to by several names including
1008:
The lives of the painters, sculptors, and architects
511:
Alte Pinakothek, Bayerische Staatsgemäldesammlungen
1098:Fabio Maniago (conte di.); Caterina Furlan (1999).
578:Christ Praying in the Garden (Agony in the Garden)
1106:Fondazione Cassa di Risparmio di Udine e Pordenone
1005:
1493:"Madonna and Child with a Donor by Marco Basaiti"
1072:A New General Biographical Dictionary, Volume III
623:Muzeum Palacu Krola Jana III w Wilanowie, Warsaw
977:Drawings by old masters at Christ Church, Oxford
1421:"Virgin and Child, with Saint James the Great"
1026:Marco Basaiti, born in Venice of Greek parents
870:. Oxford University Press. Web. 25 Apr. 2017.
99:Marco Basaiti was born around 1470, in either
849:. Oxford University Press. Web. 4 Apr. 2017.
8:
950:Rijksbureau V. Kunsthistorische Documentatie
525:Fitzwilliam Museum, University of Cambridge
410:Virgin and Child with Saint James the Great
308:One exception to this trend is the painting
134:There is evidence that Basaiti trained with
679:The State Hermitage Museum, St. Petersburg
1709:"Marco Basaiti- Madonna Adoring the Child"
130:, Alvise Vivarini and Marco Basaiti, 1503
330:
210:(1505), where, in contrast to his first
1904:. London and New York: Frederick Warne.
1253:The Praeger encyclopedia of old masters
1110:Veneziano di probabile origine albanese
794:
718:Saint Peter Enthroned with Four Saints
1918:
1907:
1655:"Ritratto di gentiluomo con pelliccia"
1325:"Giovanni Bellini Style and Technique"
567:Georgia Museum of Art, Athens Georgia
95:Personal life, training, and influence
1817:"St. Peter Enthroned and Four Saints"
1439:"Portrait of Doge Agostino Barbarigo"
920:
918:
916:
914:
912:
910:
908:
906:
904:
902:
900:
7:
1799:"The Lamentation of the Dead Christ"
1225:. Houghton, Mifflin and Co. p.
1125:Problemi di morfosintassi dialettale
940:
938:
898:
896:
894:
892:
890:
888:
886:
884:
882:
880:
837:
835:
833:
831:
829:
827:
825:
823:
806:
804:
802:
800:
798:
637:National Gallery of Art, Washington
424:Portrait of Doge Agostino Barbarigo
592:Portrait of a Gentleman with a Cap
1982:Italian people of Albanian descent
25:
777:Musée des Beaux-Arts, Strasbourg
735:Santa Maria della Salute, Venice
662:Portrait of a Gentleman in Black
144:St. Ambrose Enthroned with Saints
1987:Venetian people of Greek descent
1745:"Ritratto di gentiluomo in nero"
1583:"Calling of the Sons of Zebedee"
1407:The Museum of Fine Art, Budapest
1101:Storia delle belle arti friulane
979:. Clarendon Press. p. 193.
763:Galleria dell'Accademia, Venice
581:Galleria dell'Accademia, Venice
539:Galleria dell Accademia, Venice
536:The Call of the Sons of Zebedee
157:Lamentation over the Dead Christ
1857:Fondazione Musei Civici Venezia
1479:Fondazione Musei Civici Venezia
1403:"Saint Catherine of Alexandria"
1148:The Art of the Vienna Galleries
1040:The Art of the Munich Galleries
841:Mauro Lucco. "Basaiti, Marco."
760:Dead Christ between Two Angels
704:The Lamentation of Dead Christ
553:Szépmüvészeti Múzeum, Budapest
466:Madonna and Child with a Donor
427:Szépmüvészeti Múzeum, Budapest
399:Szépmüvészeti Múzeum, Budapest
1937:Marco Basaiti on Artcyclopedia
1637:"Christ Praying in the Garden"
1565:"Virgin and Child with Saints"
1146:Preyer, David Charles (2008).
1038:Ansell, Florence Jean (2008).
396:Saint Catherine of Alexandria
248:Calling of the Sons of Zebedee
107:. His family was of either of
1:
1972:16th-century Italian painters
1962:15th-century Italian painters
1605:Museum of Fine Arts, Budapest
1443:Museum of Fine Arts, Budapest
1217:Waters, Clara Erskine Clement
1074:. BiblioBazaar. p. 293.
864:Benezit Dictionary of Artists
522:Virgin and Child with Saints
1281:. BiblioBazaar. p. 71.
1255:. F.A. Praeger. p. 27.
1150:. BiblioBazaar. p. 39.
707:Museum of Fine Arts, Boston
480:Altarpiece of Saint Ambrose
161:St. Jerome in the Wilderness
1997:16th-century Greek painters
1992:15th-century Greek painters
1763:"Lamentation-Marco Basaiti"
1307:"Biography- BASAITI, Marco"
1305:Krén, Emily; Marx, Daniel.
1042:. READ BOOKS. p. 229.
648:The Resurrection of Christ
452:Portrait of a Man in a Cap
413:Philadelphia Museum of Art
244:Call of the Sons of Zebedee
128:Altarpiece of Saint Ambrose
2013:
1803:Museum of Fine Arts Boston
1511:"Altarpiece of St Ambrose"
1425:Philadelphia Museum of Art
1367:"The Virgin and the Child"
634:Madonna Adoring the Child
1497:Find the Data, Graphic IQ
1385:"Portrait of a Gentleman"
1349:"Portrait of a Young Man"
1277:Sturgis, Russell (2008).
1070:Rose, Hugh James (2008).
975:Shaw, James Byam (1976).
687:No date given on website
226:Middle period (1510–1520)
1901:The Nuttall Encyclopædia
1727:"Resurrezione di Cristo"
1251:Fernau, Joachim (1959).
1004:Vasari, Giorgio (1963).
494:Portrait of a Young Man
384:Providence, Rhode Island
379:Portrait of a Gentleman
368:National Gallery London
354:National Gallery London
351:Portrait of a Young Man
289:Late period ( 1520–1530)
167:Early period (1495–1510)
1871:"Saint Jérôme pénitent"
1673:"Redentore benedicente"
1569:The Fitzwilliams Museum
721:San Pietro di Castello
212:Portrait of a Young Man
208:Portrait of a Young Man
199:Portrait of a Young Man
185:Portrait of a Young Man
176:Portrait of a Young Man
1767:State Hermitage Museum
1180:. Onufri. p. 15.
774:Penitent Saint Jerome
301:
262:
259:Resurrection of Christ
238:
202:
179:
131:
41:
1967:Italian male painters
1623:Georgia Museum of Art
1619:"From the collection"
1174:Ferid Hudhri (2003).
749:Museo Correr, Venice
455:Museo Correr, Venice
365:The Virgin and Child
296:
257:
233:
197:
174:
126:
47:(c. 1470–1530) was a
33:
1977:Painters from Venice
1371:The National Gallery
1353:The National Gallery
35:Call of the Sons of
1177:Albania Through Art
690:Head of the Virgin
497:Private collection
235:Agony in the Garden
136:Bartolomeo Vivarini
1839:Web Gallery of Art
1821:Web Gallery of Art
1641:Web Gallery of Art
1587:Web Gallery of Art
1515:Web Gallery of Art
1311:Web Gallery of Art
924:Bonario, Bernard.
862:"BASAITI, Marco."
651:Accademia Carrara
564:Madonna and Child
302:
275:Resurrected Christ
263:
239:
203:
180:
132:
61:Cima da Conegliano
42:
1917:Missing or empty
1910:cite encyclopedia
1288:978-0-554-70267-4
1187:978-99927-53-67-5
1157:978-0-559-69564-3
1081:978-0-559-38853-8
1049:978-1-4437-5543-6
868:Oxford Art Online
847:Oxford Art Online
784:
783:
665:Academia Carrara
609:Academia Carrara
606:Blessed Redeemer
595:Academia Carrara
528:Tempera on panel
472:Tempera on panel
469:Location unknown
458:Tempera on panel
441:Academia Carrara
16:(Redirected from
2004:
1926:
1920:
1915:
1913:
1905:
1883:
1882:
1880:
1878:
1867:
1861:
1860:
1849:
1843:
1842:
1831:
1825:
1824:
1813:
1807:
1806:
1795:
1789:
1788:
1777:
1771:
1770:
1759:
1753:
1752:
1749:Academia Carrara
1741:
1735:
1734:
1731:Academia Carrara
1723:
1717:
1716:
1705:
1699:
1698:
1687:
1681:
1680:
1677:Academia Carrara
1669:
1663:
1662:
1659:Academia Carrara
1651:
1645:
1644:
1633:
1627:
1626:
1615:
1609:
1608:
1597:
1591:
1590:
1579:
1573:
1572:
1561:
1555:
1554:
1547:"The Deposition"
1543:
1537:
1536:
1525:
1519:
1518:
1507:
1501:
1500:
1489:
1483:
1482:
1471:
1465:
1464:
1461:Academia Carrara
1453:
1447:
1446:
1435:
1429:
1428:
1417:
1411:
1410:
1399:
1393:
1392:
1381:
1375:
1374:
1363:
1357:
1356:
1345:
1339:
1338:
1336:
1335:
1321:
1315:
1314:
1302:
1296:
1295:
1274:
1268:
1267:
1248:
1242:
1241:
1213:
1207:
1206:
1196:(1468-1528) and
1171:
1165:
1164:
1143:
1134:
1133:
1119:
1113:
1112:
1095:
1089:
1088:
1067:
1058:
1057:
1035:
1029:
1028:
1012:. Dent. p.
1011:
1001:
992:
991:
972:
961:
960:
958:
956:
942:
933:
922:
875:
860:
854:
843:Grove Art Online
839:
818:
817:. March 3, 2017.
808:
732:Saint Sebastian
676:The Lamentation
334:Date attributed
331:
279:Blessed Redeemer
267:Agony of Christ.
57:Giovanni Bellini
49:Venetian painter
21:
2012:
2011:
2007:
2006:
2005:
2003:
2002:
2001:
1942:
1941:
1933:
1916:
1906:
1894:
1886:
1876:
1874:
1869:
1868:
1864:
1851:
1850:
1846:
1835:"St. Sebastian"
1833:
1832:
1828:
1815:
1814:
1810:
1797:
1796:
1792:
1779:
1778:
1774:
1761:
1760:
1756:
1743:
1742:
1738:
1725:
1724:
1720:
1707:
1706:
1702:
1689:
1688:
1684:
1671:
1670:
1666:
1653:
1652:
1648:
1635:
1634:
1630:
1617:
1616:
1612:
1599:
1598:
1594:
1581:
1580:
1576:
1563:
1562:
1558:
1545:
1544:
1540:
1527:
1526:
1522:
1509:
1508:
1504:
1491:
1490:
1486:
1473:
1472:
1468:
1455:
1454:
1450:
1437:
1436:
1432:
1419:
1418:
1414:
1401:
1400:
1396:
1383:
1382:
1378:
1365:
1364:
1360:
1347:
1346:
1342:
1333:
1331:
1323:
1322:
1318:
1304:
1303:
1299:
1289:
1276:
1275:
1271:
1250:
1249:
1245:
1215:
1214:
1210:
1188:
1173:
1172:
1168:
1158:
1145:
1144:
1137:
1122:Pacini (1976).
1121:
1120:
1116:
1097:
1096:
1092:
1082:
1069:
1068:
1061:
1050:
1037:
1036:
1032:
1003:
1002:
995:
974:
973:
964:
954:
952:
946:"Marco Basaiti"
944:
943:
936:
923:
878:
861:
857:
840:
821:
811:"Marco Basaiti"
809:
796:
792:
508:The Deposition
483:Frari Basilica
326:
310:The Lamentation
291:
228:
169:
140:Alvise Vivarini
97:
28:
27:Italian painter
23:
22:
15:
12:
11:
5:
2010:
2008:
2000:
1999:
1994:
1989:
1984:
1979:
1974:
1969:
1964:
1959:
1954:
1944:
1943:
1940:
1939:
1932:
1931:External links
1929:
1928:
1927:
1898:, ed. (1907).
1885:
1884:
1873:. Base Joconde
1862:
1844:
1826:
1808:
1790:
1772:
1769:. 7 June 2021.
1754:
1736:
1718:
1700:
1682:
1664:
1646:
1628:
1610:
1592:
1574:
1556:
1538:
1520:
1502:
1484:
1466:
1448:
1430:
1412:
1394:
1376:
1358:
1340:
1316:
1297:
1287:
1269:
1243:
1208:
1202:Viktor Karpaçi
1194:Marin Beçikemi
1186:
1166:
1156:
1135:
1114:
1108:. p. 18.
1090:
1080:
1059:
1048:
1030:
993:
962:
934:
876:
855:
819:
815:ArtFortune.com
793:
791:
788:
782:
781:
778:
775:
772:
768:
767:
764:
761:
758:
754:
753:
750:
747:
744:
740:
739:
738:Oil on canvas
736:
733:
730:
726:
725:
724:Oil on canvas
722:
719:
716:
712:
711:
708:
705:
702:
698:
697:
694:
691:
688:
684:
683:
682:Oil on canvas
680:
677:
674:
670:
669:
666:
663:
660:
656:
655:
654:Oil on canvas
652:
649:
646:
642:
641:
638:
635:
632:
628:
627:
624:
621:
618:
614:
613:
610:
607:
604:
600:
599:
596:
593:
590:
586:
585:
582:
579:
576:
572:
571:
568:
565:
562:
558:
557:
554:
551:
548:
544:
543:
540:
537:
534:
530:
529:
526:
523:
520:
516:
515:
512:
509:
506:
502:
501:
498:
495:
492:
488:
487:
484:
481:
478:
474:
473:
470:
467:
464:
460:
459:
456:
453:
450:
446:
445:
442:
439:
436:
432:
431:
428:
425:
422:
418:
417:
414:
411:
408:
404:
403:
400:
397:
394:
390:
389:
386:
380:
377:
373:
372:
369:
366:
363:
359:
358:
355:
352:
349:
345:
344:
341:
338:
335:
325:
322:
290:
287:
227:
224:
168:
165:
153:Albrecht DĂĽrer
96:
93:
69:Marcus Basitus
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
2009:
1998:
1995:
1993:
1990:
1988:
1985:
1983:
1980:
1978:
1975:
1973:
1970:
1968:
1965:
1963:
1960:
1958:
1955:
1953:
1950:
1949:
1947:
1938:
1935:
1934:
1930:
1924:
1911:
1903:
1902:
1897:
1892:
1891:public domain
1888:
1887:
1872:
1866:
1863:
1858:
1854:
1848:
1845:
1840:
1836:
1830:
1827:
1822:
1818:
1812:
1809:
1804:
1800:
1794:
1791:
1786:
1782:
1776:
1773:
1768:
1764:
1758:
1755:
1750:
1746:
1740:
1737:
1732:
1728:
1722:
1719:
1714:
1710:
1704:
1701:
1696:
1692:
1686:
1683:
1678:
1674:
1668:
1665:
1660:
1656:
1650:
1647:
1642:
1638:
1632:
1629:
1624:
1620:
1614:
1611:
1606:
1602:
1601:"Dead Christ"
1596:
1593:
1588:
1584:
1578:
1575:
1570:
1566:
1560:
1557:
1552:
1551:The Athenaeum
1548:
1542:
1539:
1534:
1530:
1524:
1521:
1516:
1512:
1506:
1503:
1498:
1494:
1488:
1485:
1480:
1476:
1470:
1467:
1462:
1458:
1452:
1449:
1444:
1440:
1434:
1431:
1426:
1422:
1416:
1413:
1408:
1404:
1398:
1395:
1390:
1386:
1380:
1377:
1372:
1368:
1362:
1359:
1354:
1350:
1344:
1341:
1330:
1326:
1320:
1317:
1312:
1308:
1301:
1298:
1294:
1290:
1284:
1280:
1273:
1270:
1266:
1262:
1258:
1254:
1247:
1244:
1240:
1236:
1232:
1228:
1224:
1223:
1218:
1212:
1209:
1205:
1203:
1199:
1198:Marin Barleti
1195:
1189:
1183:
1179:
1178:
1170:
1167:
1163:
1159:
1153:
1149:
1142:
1140:
1136:
1132:
1127:
1126:
1118:
1115:
1111:
1107:
1103:
1102:
1094:
1091:
1087:
1083:
1077:
1073:
1066:
1064:
1060:
1056:
1051:
1045:
1041:
1034:
1031:
1027:
1023:
1019:
1015:
1010:
1009:
1000:
998:
994:
990:
986:
982:
978:
971:
969:
967:
963:
951:
947:
941:
939:
935:
931:
927:
921:
919:
917:
915:
913:
911:
909:
907:
905:
903:
901:
899:
897:
895:
893:
891:
889:
887:
885:
883:
881:
877:
873:
869:
865:
859:
856:
852:
848:
844:
838:
836:
834:
832:
830:
828:
826:
824:
820:
816:
812:
807:
805:
803:
801:
799:
795:
789:
787:
780:Oil on panel
779:
776:
773:
770:
769:
766:Oil on panel
765:
762:
759:
756:
755:
752:Oil on panel
751:
748:
746:San Girolamo
745:
742:
741:
737:
734:
731:
728:
727:
723:
720:
717:
714:
713:
710:Oil on panel
709:
706:
703:
700:
699:
696:Oil on panel
695:
692:
689:
686:
685:
681:
678:
675:
672:
671:
668:Oil on panel
667:
664:
661:
658:
657:
653:
650:
647:
644:
643:
640:Oil on panel
639:
636:
633:
630:
629:
626:Oil on panel
625:
622:
619:
616:
615:
612:Oil on panel
611:
608:
605:
602:
601:
598:Oil on panel
597:
594:
591:
588:
587:
584:Oil on panel
583:
580:
577:
574:
573:
570:Oil on panel
569:
566:
563:
560:
559:
556:Oil on panel
555:
552:
549:
546:
545:
542:Oil on panel
541:
538:
535:
532:
531:
527:
524:
521:
518:
517:
514:Oil on panel
513:
510:
507:
504:
503:
500:Oil on panel
499:
496:
493:
490:
489:
486:Oil on panel
485:
482:
479:
476:
475:
471:
468:
465:
462:
461:
457:
454:
451:
448:
447:
444:Oil on panel
443:
440:
437:
434:
433:
430:Oil on panel
429:
426:
423:
420:
419:
416:Oil on panel
415:
412:
409:
406:
405:
402:Oil on panel
401:
398:
395:
392:
391:
388:Oil on panel
387:
385:
382:RISD Museum,
381:
378:
375:
374:
371:Oil on panel
370:
367:
364:
361:
360:
357:Oil on panel
356:
353:
350:
347:
346:
342:
339:
336:
333:
332:
329:
323:
321:
317:
315:
311:
306:
299:
295:
288:
286:
282:
280:
276:
271:
268:
260:
256:
252:
249:
245:
236:
232:
225:
223:
219:
215:
213:
209:
200:
196:
192:
188:
186:
177:
173:
166:
164:
162:
158:
154:
148:
145:
141:
137:
129:
125:
121:
118:
114:
110:
106:
102:
94:
92:
90:
86:
81:
78:
74:
73:Marcus Baxiti
70:
66:
65:Marco Baxaiti
62:
58:
54:
50:
46:
45:Marco Basaiti
39:
38:
32:
19:
1952:1470s births
1919:|title=
1899:
1875:. Retrieved
1865:
1856:
1847:
1838:
1829:
1820:
1811:
1802:
1793:
1784:
1775:
1766:
1757:
1748:
1739:
1730:
1721:
1712:
1703:
1694:
1685:
1676:
1667:
1658:
1649:
1640:
1631:
1622:
1613:
1604:
1595:
1586:
1577:
1568:
1559:
1550:
1541:
1532:
1523:
1514:
1505:
1496:
1487:
1478:
1469:
1460:
1451:
1442:
1433:
1424:
1415:
1406:
1397:
1388:
1379:
1370:
1361:
1352:
1343:
1332:. Retrieved
1328:
1319:
1310:
1300:
1292:
1278:
1272:
1264:
1252:
1246:
1238:
1221:
1211:
1191:
1176:
1169:
1161:
1147:
1129:
1124:
1117:
1109:
1100:
1093:
1085:
1071:
1053:
1039:
1033:
1025:
1007:
988:
976:
953:. Retrieved
949:
929:
925:
867:
863:
858:
846:
842:
814:
785:
550:Dead Christ
327:
318:
313:
309:
307:
303:
297:
283:
278:
274:
272:
266:
264:
258:
247:
243:
240:
234:
220:
216:
211:
207:
204:
198:
189:
184:
181:
175:
160:
156:
149:
143:
133:
127:
111:or possibly
98:
85:quattrocento
82:
72:
68:
64:
44:
43:
34:
1957:1530 deaths
1896:Wood, James
1853:"File 2355"
1695:WikiCommons
1475:"File 2338"
1389:RISD Museum
314:Lamentation
298:Lamentation
237:, 1510–1516
115:origin, as
89:cinquecento
53:Renaissance
1946:Categories
1877:12 January
1334:2017-10-03
790:References
617:1518–1519
589:1515–1516
575:1510–1516
463:1501–1502
449:1500–1510
435:1500–1510
421:1500–1505
407:1500–1501
362:1496–1505
348:1495–1500
1235:227712073
1022:175078002
340:Location
337:Painting
1219:(1881).
771:No Date
757:No date
743:No date
729:No date
715:No date
701:No date
277:and the
109:Albanian
51:of the
1893::
1131:Delvina
1055:traced.
985:2633502
955:4 April
37:Zebedee
18:Basaiti
1533:Artnet
1329:Artble
1285:
1261:444975
1259:
1233:
1184:
1154:
1078:
1046:
1020:
983:
300:, 1527
261:, 1520
201:, 1505
178:, 1495
117:Vasari
105:Friuli
101:Venice
77:Vasari
71:, and
40:, 1510
1713:Artsy
673:1527
659:1521
645:1520
631:1520
603:1517
561:1510
547:1510
533:1510
519:1508
505:1508
491:1505
477:1503
393:1500
376:1500
343:Type
324:Works
113:Greek
1923:help
1879:2021
1283:ISBN
1257:OCLC
1231:OCLC
1182:ISBN
1152:ISBN
1076:ISBN
1044:ISBN
1018:OCLC
981:OCLC
957:2017
928:1974
159:and
59:and
1014:141
103:or
75:. (
1948::
1914::
1912:}}
1908:{{
1855:.
1837:.
1819:.
1801:.
1783:.
1765:.
1747:.
1729:.
1711:.
1693:.
1675:.
1657:.
1639:.
1621:.
1603:.
1585:.
1567:.
1549:.
1531:.
1513:.
1495:.
1477:.
1459:.
1441:.
1423:.
1405:.
1387:.
1369:.
1351:.
1327:.
1309:.
1291:.
1263:.
1237:.
1229:.
1227:75
1190:.
1160:.
1138:^
1104:.
1084:.
1062:^
1052:.
1024:.
1016:.
996:^
987:.
965:^
948:.
937:^
879:^
866:.
845:.
822:^
813:.
797:^
67:,
1925:)
1921:(
1881:.
1859:.
1841:.
1823:.
1805:.
1787:.
1751:.
1733:.
1715:.
1697:.
1679:.
1661:.
1643:.
1625:.
1607:.
1589:.
1571:.
1553:.
1535:.
1517:.
1499:.
1481:.
1463:.
1445:.
1427:.
1409:.
1391:.
1373:.
1355:.
1337:.
1313:.
959:.
930:.
874:.
853:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
