Alma Tadema's Oil Paintings
	Alma Tadema Museum 8 January 1836 – 25 June 1912. Most renowned painters.
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Here are all the paintings of BARTOLOMEO VENETO 01

ID	Painting	Oil Pantings, Sorted from A to Z	Painting Description
80444		Alleged portrait of Lucrezia Borgia	Date 16th century Medium Oil on canvas cjr
84720		Alleged portrait of Lucrezia Borgia	16th century Medium Oil on canvas cyf
79948		Beatrice d Este	1510s Medium Oil on canvas Dimensions 75 x 56 cm (29.5 x 22 in) cyf
79192		Beatrice dEste	1510s Medium Oil on canvas Dimensions 75 x 56 cm (29.5 x 22 in) cyf
83681		Cleveland Museum of Art	Cleveland Museum of Art
73294		John the Baptist	John the Baptist cjr
75024		John the Baptist	John the Baptist Date 16th century cyf
63841		Portrait of a Gentleman	1512 Oil on panel, 73 x 58 cm Galleria Nazionale d'Arte Antica, Rome Earlier this picture was described as a work of Leonardo. Later, the panel was attributed to Holbein. Finally, of exceptionally high quality, the painting was given to Bartolomeo Veneto by comparing it to two other portraits by the same painter, now at Houston and Washington. The proposed dating is the second decade of the sixteenth century (perhaps 1512), in the wake of Bartolomeo's sojourn in Ferrara between 1506 and 1508. Bartolomeo Veneto (Bartolommeo Veneziano) attracted attention at the end of the 19th century. He was a pupil of Gentile Bellini, he worked at the Court of the Grand Duke of Ferrara and elsewhere. There he came under the influence of LOmbard artists. The artist enriched his original Venetian pictorial language with direct exposure to the influence of Albrecht D?rer, who had been active in Venice in the first years of the sixteenth century. The figures of the knight and the soldier, visible in the background, are literally copied from a 1496 woodcut by D?rer. The identity of the sitter, however, remains a mystery. We do know, however, that he must have been a gentleman attached to the Mantuan court of the Gonzagas. Recently, it was suggested that Bartolomeo Veneto may have been the talented portraitist working in Raphael's workshop who was responsible for the faces of the chair-bearers in the Vatican Palace's Mass of Bolsena. Several inscriptions are legible in the painting: on the medal of the sitter's beret is written "Probasti e Chognovisti"; on the placard above the animal on the medal are the Greek letters epsilon and tau; and along the edge of the plaquette that decorates the sword handle, "IN(?) B:VF" and "NO SPI(E)".Artist:BARTOLOMEO VENETO Title: Portrait of a Gentleman Painted in 1501-1550 , Italian - - painting : portrait
75161		Portrait of a Lady in a Green Dress	1530 Oil on panel 33-7/8 x 26-5/8 in. cjr
76991		Portrait of a Lady in a Green Dress	Date 1530 Medium Oil on panel Dimensions 33-7/8 x 26-5/8 in. cyf
40285		Portrait of a Woman	mk156 Oil on panel 43.5x34.3cm
97208		Portrait of a Woman	between 1520(1520) and 1525(1525) Medium tempera and oil on poplar wood cyf
4950		Portrait of a Woman kki	Oil on wood, 43,5 x 34,3 cm Städelsches Kunstinstitut, Frankfurt
43052		Portrait of Ludovico Martinengo	mk170 dated 1530 June 16 Oil on wood 105.4x71.1cm
79424		Ritratto Di Donna Ebrea Con Gli Attributi Di Joele	Ritratto Di Donna Ebrea Con Gli Attributi Di Joele. cjr
82366		Ritratto Di Donna Ebrea Con Gli Attributi Di Joele	Ritratto Di Donna Ebrea Con Gli Attributi Di Joele cyf
83511		Ritratto Di Gentildonna	Notes Cat. 39 cyf
79736		Ritratto Di Giovane Gentiluomo	The Cleveland Museum of Art cjr
58337		san giovanni battita	mk261 years 1510 -1520 Venice oil painting on canvas 65.5 x 40 cm Florence.
44303		St Nicholas of Bari	Oil on canvas
83517		The Timken Art Gallery	The Timken Art Gallery cyf
52247		Woman Playing a Lu	1520 Oil on panel, 65 x 50 cm
63540		Woman Playing a Lute	1520 Oil on panel, 65 x 50 cm Pinacoteca di Brera, Milan The date appears on the paper below the lute: 1520. A replica, perhaps by the artist himself, is in the Gardner Museum, Boston. The woman is represented in the guise of St Cecilia, a typical example of sixteenth-century "court art." In fact the artist worked for three years at Ferrara for Lucrezia Borgia. Bartolomeo's formation derives from Cima da Conegliano and the later work of Bellini, with influences from Leonardo, Costa and northern European art. His signature on a painting that was formerly in the Dona delle Rose collection in Venice shows how aware he was of his mixed development: "Bartolamio half Venetian and half Cremonese." He liked to paint half-figures of women, and chose subjects with strong personalities.Artist:BARTOLOMEO VENETO Title: Woman Playing a Lute Painted in 1501-1550 , Italian - - painting : genre

BARTOLOMEO VENETO

Italian Painter, ca.1470-1531 Italian painter. He worked in Venice, the Veneto and Lombardy in the early decades of the 16th century. Knowledge of him is based largely on the signatures, dates and inscriptions on his works. His early paintings are small devotional pictures; later he became a fashionable portraitist. His earliest dated painting, a Virgin and Child (1502; Venice, priv. col., see Berenson, i, pl. 537), is signed 'Bartolomeo half-Venetian and half-Cremonese'. The inscription probably refers to his parentage, but it also suggests the eclectic nature of his development. This painting is clearly dependent on similar works by Giovanni Bellini and his workshop, but in a slightly later Virgin and Child (1505; Bergamo, Gal. Accad. Cararra) the sharp modelling of the Virgin's headdress and the insistent linear accents in the landscape indicate Bartolomeo's early divergence from Giovanni's depiction of light and space. An inscription on his Virgin and Child of 1510 (Milan, Ercolani Col.) states that he was a pupil of Gentile Bellini, an assertion supported by the tightness and flatness of his early style. The influence of Giovanni is still apparent in the composition of the Circumcision (1506; Paris, Louvre), although the persistent stress on surface patterns and the linear treatment of drapery and outline is closer to Gentile. Bartolomeo's experience as a painter at the Este court in Ferrara (1505-8) probably encouraged the decorative emphasis of his style. In the half-length Portrait of a Man (c. 1510; Cambridge, Fitzwilliam) the flattened form of the fashionably dressed sitter is picked out against a deep red curtain so that the impression of material richness extends across the entire picture surface.

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