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| Cima da Conegliano Silenus with Satyrs ca. 1505-1510 oil on panel Philadelphia Museum of Art |
This panel is a fragment of a painting that probably formed a long frieze-like decoration in a bedchamber or study, possibly placed high on the wall as was common in Venice and the Veneto region of Italy during the fifteenth and sixteenth centuries. It depicts members of the train of Bacchus, the god of wine. Another fragment from the painting, now in Milan at the Museo Poldi Pezzoli, shows Bacchus crowning Ariadne and making her his wife. In representing the story, the artist tried to reconstruct the ancient world rather than set the scene in his own time. Nevertheless, the landscape behind the figures resembles the Veneto region in which Cima lived.
– based on curator's notes at the Philadelphia Museum of Art
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| Jean Bellegambe Annunciation ca. 1515-20 oil on panel Walters Art Museum, Baltimore |
These two panels were originally the exterior wings of an altarpiece featuring, on the interior, a Madonna and Child in the center (now in Brussels) and Saints Catherine and Barbara on the two side wings (now in the Art Institute of Chicago). While the interior was painted in naturalistic colors, the painter followed a long tradition of painting the exterior in grisaille to resemble carved stone statues in a niche. Jean Bellegambe's shop was in Douai, which was then near the border of the Netherlands and France. While his patrons came mainly from northern France, his style was deeply influenced by late medieval styles of Antwerp.
– based on curator's notes at the Walters Art Museum
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| Goswin van der Weyden Deposition before 1538 oil on panel Museum of Fine Arts, Boston |
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| Ridolfo Ghirlandaio Portrait of a Gentleman ca. 1505 tempera and oil on panel, transferred to canvas Art Institute of Chicago |
Ridolfo Ghirlandaio transformed the large workshop he inherited from his famous, fresco-painter father, Domenico, into one that specialized in portraits and festival decorations. One of Ridolfo's most celebrated pictures, this work reveals his careful study of the portraits of Leonardo da Vinci and Raphael in its calm, pyramidal, and expansive presentation of the sitter and in its active, searching light. The foreground parapet, over which a hand projects illusionistically into the viewer's space, and the glimpse of landscape through the window are devices Ridolfo borrowed from Flemish painting.
– based on curator's notes at the Art Institute of Chicago
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| Master of the Aachen Altar Scenes from the Passion: Pilate Washing his Hands ca. 1500-1505 tempera and oil on panel Walker Art Gallery, Liverpool |
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| Anonymous artist working in Venice Ecce Homo ca. 1505-15 tempera on panel Walters Art Museum, Baltimore |
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| attributed to Bernardino Luini or Andrea Solario Mary Magdalene ca. 1524 oil on panel Walters Art Museum, Baltimore |
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| Bernardino de' Conti Portrait of Catellano Trivulzio 1505 tempera and oil on panel Brooklyn Museum |
Bernardino de' Conti painted Catellano Trivulzio at age twenty-six with his face in strict profile, as if on an antique medal or coin. The sitter's splendid velvets, furs and embroideries are typical trappings of Renaissance Milan's powerful affluent class. According to archival documents, Trivulzio was unpopular among his fellow Milanese, perhaps because of his family's active role in the French occupation of the city from 1499 to 1512.
– based on curator's notes at the Brooklyn Museum
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| Jan van Dornicke Amnon and Tamar ca. 1520 oil on panel Walters Art Museum, Baltimore |
King David's son Amnon pretended to be sick, and when his half-sister Tamar came to visit him, he treacherously raped her. In the later 1500s, once the athletic ideal of classical antiquity and contemporary Italian art had been absorbed in the Netherlands, painters would typically depict such threatening male figures with far more muscular builds. The rich surface detail, figures posed in graceful curves, and elaborate play of textile folds are typical of the prevailing style in Antwerp around 1515 to 1525, sometimes known as "Antwerp Mannerism," of which Jan van Dornicke was the leading practitioner.
– based on curator's notes at the Walters Art Museum
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| Andrea Previtali Virgin and Child with St James the Greater ca. 1510 tempera on panel Harvard Art Museums |
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| Girolamo Marchesi St Bruno ca. 1525 oil on panel Walters Art Museum, Baltimore |
The inscription on the ledge identifies the subject as St. Bruno of Cologne (ca. 1035-1101), the founder of the Carthusian monastic order. He was canonized by Pope Leo X in 1514.
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| Dosso Dossi Woman with Wreath ca. 1520-25 oil on panel (fragment) Walters Art Museum, Baltimore |
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| Domenico Puligo Vision of St Bernard ca. 1520 oil on panel Walters Art Museum, Baltimore |
Seated at a reading desk in front of a landscape, St. Bernard of Clairvaux (1090-1153) has a vision of the Virgin Mary attended by two angels. The saint, who wears the white habit of the Cistercian order, was known for his devotion to the Virgin. Giorgio Vasari (1511-1574) wrote that this was the finest work Puligo produced in the course of his entire career.
– based on curator's notes at the Walters Art Museum
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| Agnolo Bronzino and workshop Portrait of Baby Boy ca. 1545-50 oil on panel Walters Art Museum, Baltimore |
Bronzino served for several years as court painter to Cosimo I de' Medici (1519-1574), Grand Duke of Tuscany. The artist painted portraits of many members of the Medici family. This picture may represent Cosimo and Eleonora di Toledo's son Garcia, born in 1547, or another son, Ferdinando, born in 1549. Wrapped in swaddling clothes, the baby recalls representations of the infant Jesus.
– based on curator's notes at the Walters Art Museum