User:Asickleslasha/Jacopo Bassano

Life
Jacopo Bassano (1510-1592), known also as Jacopo dal Ponte, was born around 1510 in the town of Bassano del Grappa, located about 65 km from the city of Venice. His father, Francesco il Vecchio, was a locally successful painter that had established a family workshop which primarily produced religious works in the local style. During his early youth Bassano was an apprentice in his father's workshop. He eventually made his way to Venice in the 1530's, during which he studied under Bonifazio de Pitati (also known as Bonifazio Veronese) and was exposed to such famous artists as Titian and il Pordenone. After his father's death in 1539 he returned to Bassano del Grappa and permanently set up residence there, even taking a local woman (Elisabetta Merzari) as his wife in 1546. He took over the management of his family workshop, which would eventually come to include his four sons, Francesco the Younger, Leandro, Giovanni Battista, and Gerolamo. After his death in 1592, his sons continued to produce numerous works in his style, making it difficult for later art historians to establish which pieces were created by Jacopo himself and which works were created at the hands of his progeny.

What makes Jacopo Bassano particularly unique amongst his fellow Renaissance artists was his ability to incorporate diverse artistic influences (including Dürer, Parmigianino, Tintoretto, and Raphael, amongst many others) into his work despite his reluctance to leave the comfort of his home town. This is attributed to his exposure to prints by these artists, of which he was most likely an avid collector.

Artwork
Bassano's ability to experiment and absorb stylistic qualities from other contemporary artists is evident in the four distinct periods seen in his artistic legacy. Each period shows the artist's struggle to reconcile his own aesthetics with the styles of his peers.

Criticism and Praise
Bassano was praised by contemporary Venetian art historians, such as Vasari, Benedetti, Maruccini, and Borghini. However, positive critiques of Bassano have hardly been constant. Beginning with Giovanni Battista Agucchi around 1610, art historians have progressively been more critical of work produced by Bassano and his family's workshop. The most common complaint leveled at Bassano is that he failed to carefully study and imitate works of Classical Antiquity or Roman art. They felt that this resulted in pieces that lacked grace and a powerful composition. Another possible shortcoming of Jacopo's work as pointed out by Luigi Lanzi was his limited range of subject matter and the repetition of certain scenes, which to him signaled a lack of creativity seen in other Renaissance artists. Despite his dearth of subject matter, Bassano and his workshop produced so many pieces that it led to complaints that his work was too common in the Venetian area and that the sheer volume of mediocre pieces in his oeuvre devalued his best works.

However, despite the abundance of critical reviews of Bassano's pieces there are still many that feel he was a brilliant artist that helped to usher in the age of "genre paintings" and broke many of the canons that restricted artists painting religious subject matter.