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| attributed to Giovanni Cariani Portrait of Two Young Men 1518 oil on canvas Musée du Louvre |
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| Giovanni Cariani Madonna and Child with St Sebastian ca. 1519 oil on canvas Musée du Louvre |
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| attributed to Giovanni Cariani (formerly attributed to Titian or Giorgione) Portrait of a Venetian Gentleman ca. 1510-15 oil on canvas National Gallery of Art, Washington DC |
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| Giovanni Cariani Concert Champêtre ca. 1517 oil on canvas National Museum, Warsaw |
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| Giovanni Cariani Resurrection with St Jerome, St John the Baptist and Donors Ottaviano and Domitilla Vimercati 1520 oil on canvas Pinacoteca di Brera, Milan |
"Born ca. 1485 near Bergamo, the westernmost of the Venetian mainland territories, Cariani was trained in Venice, first in Giovanni Bellini's workshop and then among the circle of Giorgione. In Venice until 1517, he underwent further influences from Titian, Sebastiano del Piombo, and Palma Vecchio, the last of whom also came from Bergamo. Cariani returned to live in his native city twice, from 1517 to 1523 and again from 1528 to 1530; otherwise he was active in Venice until his death. The pattern of alternating between two artistic centers, one a sophisticated metropolitan capital and the other a provincial city with strong ties to Lombardy, is reflected in Cariani's style."
– David Alan Brown, from Art for the Nation (National Gallery of Art, Washington DC: 2000)
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| Giovanni Cariani Portrait of a Young Woman resting in a Landscape 1522 oil on canvas Gemäldegalerie, Berlin |
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| Giovanni Cariani Seven Members of the Albani Family 1519 oil on canvas private collection |
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| Giovanni Cariani Portrait of a Young Man with a Green Book ca. 1510-20 oil on canvas Fine Arts Museums of San Francisco (Palace of the Legion of Honor) |
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| attributed to Giovanni Cariani Portrait of a Woman ca. 1530-35 oil on canvas Kunsthistorisches Museum, Vienna |
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| Giovanni Cariani Madonna and Child enthroned with St Apollonia, St Augustine, St Catherine, St Joseph, St Grata, St Philip Benizzi, St Barbara and Angels 1517-18 oil on canvas Pinacoteca di Brera, Milan |
"It is clear from the beginning of his career that there is a powerful attachment to the aesthetic of the Quattrocento in Cariani's art. His earliest dated work that survives is of 1519, when he was in Bergamo, but undated paintings exist which may be assigned to the few previous years. These are in a style that is predominantly quattrocentesque, employed a vocabulary related generically to the late Bellini or the earliest, still Carpaccesque Palma. The concession to modernity in these paintings is literally superficial, consisting in the enlivening of surface with a textured light, described however with a conservative technique. Evidence in Cariani's landscape style and in his themes shows willing interest in Giorgione and the early Titian, but his personal gestalt of form – heavy, angular, and disjointed – cannot be reconciled with theirs."
– S.J. Freedberg from Painting in Italy - 1500 to 1600 in the Pelican History of Art series (London, 1971)
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| Giovanni Cariani St Sebastian flanked by St Roch and St Margaret ca. 1520 oil on canvas Musée des Beaux-Arts de Marseilles |
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| Giovanni Cariani The Lute Player ca. 1515 oil on canvas Musée des Beaux-Arts de Strasbourg |
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| Giovanni Cariani A Concert ca. 1518-20 oil on canvas National Gallery of Art, Washington DC |
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| Giovanni Cariani Portrait of a Gentleman holding the Portrait of a Lady before 1547 oil on canvas private collection |
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| Giovanni Cariani Portrait of a Lady ca. 1515 oil on canvas Museum of Fine Arts, Budapest |
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| Giovanni Cariani Portrait of Giovan Antonio Caravaggi ca. 1520-30 oil on canvas National Gallery of Canada, Ottawa |