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| Giulio Licinio Roman Triumph (detail) ca. 1560 oil on panel Kunsthistorisches Museum, Vienna |
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| Giulio Licinio Roman Triumph (detail) ca. 1560 oil on panel Kunsthistorisches Museum, Vienna |
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| Giulio Licinio Roman Triumph (detail) ca. 1560 oil on panel Kunsthistorisches Museum, Vienna |
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| Giulio Licinio Roman Triumph ca. 1560 oil on panel Kunsthistorisches Museum, Vienna |
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| Giulio Licinio Conversion of St Paul ca. 1556 oil on panel Museo di Castelvecchio, Verona |
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| Giulio Licinio Conversion of St Paul (detail) ca. 1556 oil on panel Museo di Castelvecchio, Verona |
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| attributed to Bernardino Licinio Virgin and Child Enthroned with St Lawrence, St Ursula and Senatore Lorenzo Pasqualigo before 1565 oil on canvas Chiesa di San Pietro Martire, Murano |
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| attributed to Bernardino Licinio Virgin and Child Enthroned (detail) before 1565 oil on canvas Chiesa di San Pietro Martire, Murano |
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| attributed to Bernardino Licinio Virgin and Child Enthroned (detail) before 1565 oil on canvas Chiesa di San Pietro Martire, Murano |
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| Bernardino Licinio Portrait of a Noblewoman with her Son before 1565 oil on canvas Pinacoteca Egidio Martini, Ca' Rezzonico, Venice |
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| Bernardino Licinio Portrait of a Widow with an Image of her deceased Husband ca. 1525-28 oil on canvas Pinacoteca del Castello Sforzesco, Milan |
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| Bernardino Licinio Portrait of a Man with a Missal 1524 oil on canvas York City Art Gallery |
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| Bernardino Licinio Portrait of a Lady ca. 1525-30 oil on canvas Museo del Prado, Madrid |
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| Bernardino Licinio Portrait of a Lady 1533 oil on canvas Gemäldegalerie Alte Meister, Dresden |
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| Bernardino Licinio Salome receiving the Head of John the Baptist before 1565 oil on canvas Pushkin Museum, Moscow |
"The relatively conservative complexion which painting in Venice bears in these decades is strengthened by the members of the Lombard colony, part Brescian, part Bergamasque, among whom Palma was the chief until his death in 1528; Cariani, Savoldo, and the Licinio and d'Asola families were next in prominence. Only Palma came to be effectively de-provincialized, becoming a participant in advanced developments on the contemporary Venetian scene: the rest retained a strong measure of provincial taste and conservative disposition."
"Bernardino Licinio was born c. 1489 of a Bergamasque family resident in Venice and Murano, and is recorded as a painter in Venice as early as 1511. His first training seems to have been Bellinesque. . . . He was readier than Cariani to slough off the obvious traits of affiliation with an older style, and adopted the outward indices of modernity, which he observed, chiefly, in the models of Palma. But his capacity did not take him underneath the formulae he borrowed: he confronts them in the spirit of a craftsman with a pattern-book. . . . Mainly employed as a portraitist, Licinio came to follow the successive portrait modes in which Titian worked, at first at a cautious distance but then more closely in time. . . . In time his portraits acquired some effect of consistency in style – hard-surfaced and meticulously described, they can produce both strong presence and a considerable decorative effect."
– S.J. Freedberg, Painting in Italy 1500-1600 in the Pelican History of Art series (1970)