{"id":1318,"date":"2023-06-25T15:19:43","date_gmt":"2023-06-25T13:19:43","guid":{"rendered":"https:\/\/deibardiart.pdgm.fr\/decorative-art\/leandro-da-ponte-dit-leandro-bassano-bassano-del-grappa-1557-venise-1662\/"},"modified":"2023-07-27T15:57:29","modified_gmt":"2023-07-27T13:57:29","slug":"leandro-da-ponte-dit-leandro-bassano-bassano-del-grappa-1557-venise-1662","status":"publish","type":"post","link":"https:\/\/deibardiart.com\/en\/painting\/leandro-da-ponte-dit-leandro-bassano-bassano-del-grappa-1557-venise-1662\/","title":{"rendered":"Leandro da Ponte, dit Leandro Bassano (Bassano del Grappa 1557 – Venise 1662)"},"content":{"rendered":"\n
Portrait de savant dans sa biblioth\u00e8que<\/p>\n\n\n\n
Huile sur toile, cadre moderne<\/p>\n\n\n\n
<\/div>\n\n\n\n
– attribution propos\u00e9e par le Docteur David Dotti en 2012.<\/p>\n\n\n\n
Fils cadet du grand Jacopo Bassano, et fr\u00e8re de Francesco, Leandro se forma dans l\u2019atelier du p\u00e8re. D\u00e8s 1575, lors du d\u00e9part de son fr\u00e8re a\u00een\u00e9 pour Venise, il devint un assistant important dans l\u2019atelier de famille. A la mort de Francesco, Leandro se rendit \u00e0 Venise ou il matura un style proche du grand ma\u00eetre v\u00e9nitien Tintoret et devint un portraitiste appr\u00e9ci\u00e9. Ridolfi le mentionne \u00e0 Venise en 1577, ou il r\u00e9sida sans interruption jusqu\u2019\u00e0 sa mort, ayant \u00e9t\u00e9 inscrit \u00e0 la fraglia dei pittori veneziani d\u00e8s 1588.<\/p>\n\n\n\nLeandro Bassano, portrait, collection Brass, Venise, Italie<\/figcaption><\/figure>\n\n\n\n
La carri\u00e8re de Leandro est jalonn\u00e9e de succ\u00e8s. \u00e0 la fin du Cinquecento, il \u00e9tait reconnu comme l\u2019artiste le plus important de Venise et son talent lui vaudra l\u2019honneur d\u2019\u00eatre anobli du titre de cavaliere (chevalier) par le Doge Marino Grimani. <\/p>\n\n\n\n
En 1771 Zanetti le d\u00e9finit comme \u00ab un digne imitateur et disciple du p\u00e8re, suivant toutefois plut\u00f4t la seconde que la premi\u00e8re mani\u00e8re \u00bb.<\/p>\n\n\n\n
dans ses \u0153uvres on peut observer une mani\u00e8re plus dessin\u00e9e et des coups de pinceau filandreux, bien diff\u00e9rents, comme le note Arslan, de ” la frappe franche et robuste ” de son p\u00e8re et de ” celle, vacillante, de Francesco \u00bb. Nous pouvons donc constater une orientation stylistique diff\u00e9rente de celle de la tradition familiale; Leandro laisse de c\u00f4t\u00e9 la peinture du toucher et de la \u00ab tache \u00bb. <\/p>\n\n\n\n
Parall\u00e8lement aux commandes officielles, Leandro se sp\u00e9cialise aussi dans le domaine du portrait ou il d\u00e9passe les formules stylistiques typiques du mani\u00e9risme v\u00e9nitien, pour \u00e9voluer vers un style caract\u00e9ris\u00e9 principalement par une plus profonde analyse du sujet, souvent repr\u00e9sent\u00e9 dans son int\u00e9rieur, entour\u00e9 de ses objets familiers. <\/p>\n\n\n\nLeandro Bassano, Portrait du cardinale Giovanni Dolfin, Musei civici, PAdoue, Italie<\/figcaption><\/figure>\n\n\n\n
Leandro atteint une extraordinaire renomm\u00e9e en tant que portraitiste, ce qui lui permet d’exprimer une sensibilit\u00e9 particuli\u00e8re et de b\u00e9n\u00e9ficier des \u00e9loges de Carlo Ridolfi, qui le d\u00e9crit comme ” particuli\u00e8rement excellent dans les portraits “, dont la beaut\u00e9 ” \u00e9tait pr\u00each\u00e9e par l’universel “. \u00c0 la diff\u00e9rence du Titien, Leandro a repr\u00e9sent\u00e9 des m\u00e9decins, des marchands, des juristes, des fr\u00e8res dominicains, des musiciens et des artistes, ce qui lui a permis d’avoir une facilit\u00e9 descriptive et une sinc\u00e9rit\u00e9 peu communes; par analogie avec les \u0153uvres de Moroni et en regardant des exemples d’au-del\u00e0 des Alpes, Leandro a r\u00e9ussi a saisir le caract\u00e8re physique et moral du sujet, situ\u00e9 dans sa r\u00e9alit\u00e9 concr\u00e8te.<\/p>\n\n\n\n
Le pr\u00e9sent tableau, datable autour de 1590, est caract\u00e9ris\u00e9 par la minutieuse description de l\u2019int\u00e9rieur du cabinet priv\u00e9 du lettr\u00e9 : les d\u00e9tails dor\u00e9s, le fauteuil sculpt\u00e9 et les livres en cuir us\u00e9s sur le fond rel\u00e8vent de la fort attention aux d\u00e9tails et \u00e0 l\u2019environnement priv\u00e9e du personnage repr\u00e9sent\u00e9. <\/p>\n\n\n\n
Assis sur un fauteuil en velours bordeaux, le pr\u00e9lat est repr\u00e9sent\u00e9 de trois quart, la main gauche gliss\u00e9 sur le bras du fauteuil, la t\u00eate tourn\u00e9e vers le spectateur. <\/p>\n\n\n\n
M\u00eame si l\u2019identit\u00e9 de l\u2019effigi\u00e9 reste inconnue, la biblioth\u00e8que pleine de volumes bien rang\u00e9s et finement reli\u00e9s en cuir, permet d\u2019\u00e9tablir qu\u2019il s\u2019agit d\u2019un homme de culture.<\/p>\n\n\n\n
Le portrait peut \u00eatre compar\u00e9 avec diff\u00e9rentes \u0153uvres autographes de l\u2019artiste comme le double portrait des collections Royales de Hampton Court et le portrait du Cardinal Giovanni Dolfin du Mus\u00e9e civico di Padova. Tr\u00e8s similaire \u00e0 notre tableau apparait aussi le portrait de la collection Brass: la position des deux protagonistes est la m\u00eame, assis de trois quarts devant un rideau partiellement soulev\u00e9, la main pos\u00e9e sur le bras enroul\u00e9 du fauteuil. <\/p>\n\n\n\n
La repr\u00e9sentation du personnage \u00e0 trois quarts, le regard s\u00e9v\u00e8re tourn\u00e9 vers le spectateur, la lumi\u00e8re froide et lunaire, la palette chromatique aux tons acides mais aussi la description minutieuse de l\u2019int\u00e9rieur sont les chiffres stylistiques qui distinguent Leandro Bassano et t\u00e9moignent du r\u00f4le de premier plan que le ma\u00eetre joua dans le domaine du portrait v\u00e9nitien \u00e0 cheval entre XVI et XVII si\u00e8cle.<\/p>\n\n\n\n
<\/div>\n\n\n\n
Bibliographie :<\/p>\n\n\n\n
\n
C. Ridolfi, Le maraviglie dell’arte [1648], \u00e9dit\u00e9 par D. v. Hadeln, II, Berlin 1924, pp. 165 ; 171<\/li>\n\n\n\n
A. M. Zanetti, Descrizione di tutte le pubbliche pitture della citt\u00e0 di Venezia e Isole circonvicine, Venise 1733, ad vocem<\/li>\n\n\n\n
E. Arslan, I Bassano, Milan 1960, pp. 233 <\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"
Portrait de savant dans sa biblioth\u00e8que Huile sur toile, cadre moderne – attribution propos\u00e9e par le Docteur David Dotti en 2012. Fils cadet du grand Jacopo Bassano, et fr\u00e8re de Francesco, Leandro se forma dans l\u2019atelier du p\u00e8re. D\u00e8s 1575, lors du d\u00e9part de son fr\u00e8re a\u00een\u00e9 pour Venise, il devint un assistant important dans […]<\/p>\n","protected":false},"author":2,"featured_media":1192,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[25],"class_list":["post-1318","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-painting"],"yoast_head":"\n
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Fils cadet du grand Jacopo Bassano, et fr\u00e8re de Francesco, Leandro se forma dans l\u2019atelier du p\u00e8re. 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