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| Jacopo Bassano The Miraculous Draught of Fishes 1545 oil on canvas National Gallery of Art, Washington DC |
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| Jacopo Bassano Two Hounds 1548 oil on canvas Musée du Louvre |
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| Jacopo Bassano Lazarus and the Rich Man ca. 1550 oil on canvas Cleveland Museum of Art, Ohio |
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| Jacopo Bassano Virgin and Child with young St John the Baptist ca. 1559 oil on canvas Palazzo Pretorio, Prato |
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| Jacopo Bassano Virgin and Child with St Jerome and St John the Baptist ca. 1560-65 oil on canvas Sinebrychoff Art Museum, Helsinki |
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| Jacopo Bassano Virgin and Child with St Jerome and St John the Baptist (detail) ca. 1560-65 oil on canvas Sinebrychoff Art Museum, Helsinki |
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| Jacopo Bassano St Peter and St Paul (detail) ca. 1561 oil on canvas Galleria Estense, Modena |
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| Jacopo Bassano The Good Samaritan ca. 1562-63 oil on canvas National Gallery, London |
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| Jacopo Bassano Tamar led to the Stake 1566-67 oil on canvas Kunsthistorisches Museum, Vienna |
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| Jacopo Bassano Martyrdom of St Sebastian 1574 drawing Royal Collection, Windsor |
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| Jacopo Bassano Martyrdom of St Sebastian 1574 oil on canvas Musée des Beaux-Arts de Dijon |
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| Jacopo Bassano The Mocking of Christ ca. 1580-90 oil on canvas Museum of Fine Arts, Boston |
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| Jacopo Bassano Diana and Actaeon ca. 1585-91 oil on canvas Art Institute of Chicago |
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| Jacopo Bassano Baptism of Christ ca. 1590 oil on canvas Metropolitan Museum of Art, New York |
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| Jacopo Bassano The Crucifixion before 1591 oil on canvas National Museum of Art of Romania, Bucharest |
"Bassano is easily the least known of the great painters of sixteenth-century Venice – a galaxy that includes Giorgione and Titian, Tintoretto and Veronese, and Lorenzo Lotto. Why this should be so is not altogether clear, for he was an artist of remarkable originality and in his lifetime enjoyed a European reputation. However, the fact that he chose to remain in his native Bassano del Grappa, northwest of Venice, and there established a family practice that included his [three sons], and that many of the altarpieces he supplied were to churches in the Venetian terra firma, certainly helps explain why Vasari slighted him the way he did. Bassano is only mentioned in passing, with the remark that many of his works are "very beautiful" and can be found "dispersed throughout Venice, and they are held in high esteem – especially the little works with animals of all kinds." . . . A far more just assessment is found in the biography published in the following century (1648) by the Venetian writer Carlo Ridolfi. There Bassano is rightly praised for his original and powerful style, based on a new naturalism. Today, Bassano is recognized as the author of some of the most astonishing as well as original pictures of the sixteenth century: works that combine an acute attention to naturalistic detail with elegantly choreographed figures and an interest in everyday activities."
– from an essay by Keith Christiansen on the Heilbrunn Timeline of Art History at the Metropolitan Museum of Art, New York