(b Bassano del Grappa, c. 1510; d Bassano del Grappa, 13 Feb 1592). Son of (1) Francesco Bassano il vecchio.

He was apprenticed to his father, with whom he collaborated on the Nativity (1528; Valstagna, Vicenza, parish church). In the first half of the 1530s Jacopo trained in Venice with Bonifazio de' Pitati, whose influence, with echoes of Titian, is evident in the Flight into Egypt (1534; Bassano del Grappa, Mus. Civ.). He continued to work in the family shop until his father's death in 1539. His paintings from those years were mainly altarpieces for local churches; many show signs of collaboration. He also worked on public commissions, such as the three canvases on biblical subjects (1535-6; Bassano del Grappa, Mus. Civ.) for the Palazzo Communale, Bassano del Grappa, in which the narrative schemes learnt from Bonifazio are combined with a new naturalism. From 1535 he concentrated on fresco painting, executing, for example, the interior and exterior decoration (1536-7) of S Lucia di Tezze, Vicenza, which demonstrates the maturity of his technique.

Part of the Bassano family

See the Abbreviations for further details.

---

For more information on Jacopo Bassano, visit Britannica.com.

(yä'kōpō bäs-sä'nō) , c.1515–1592, Venetian painter, whose original name was Jacopo, or Giacomo, da Ponte, b. Bassano, Italy. Bassano first studied with his father, Francesco da Ponte, and then went to Venice. There he was influenced by Titian and Lorenzo Lotto, but he soon evolved a more turbulent mannerist style. Returning to Bassano c.1540, he established a thriving workshop producing works primarily on biblical themes. Into his paintings, which were characterized by a dramatic intensity, he introduced vignettes of country life. He was among the first Italian painters to depict animals, farmhouses, and landscapes. Jacopo's works include Jacob's Return to Canaan (Ducal Palace, Venice); Dives and Lazarus (Cleveland Mus.); Acteon and the Nymphs (Art Inst., Chicago); Annunciation to the Shepherds (National Gall. of Art, Washington, D.C.).

Of Jacopo's four sons, his most worthy followers were Francesco Bassano, 1549–92, whose biblical and pastoral scenes were similar in style to his father's, and Leandro Bassano, 1558–1623, who painted altarpieces and portraits as well as pastoral genre. The Cleveland Museum of Art has his Pietà.

Bibliography

See study of Jacopo Bassano by P. Zampetti (tr. 1958).

This entry is from Wikipedia, the leading user-contributed encyclopedia. It may not have been reviewed by professional editors (see full disclaimer)