Jacopo Bassano

Ponte, Giacomo da
Ponte, Jacopo da

Venetian, c. 1510 - 1592

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At the base of a steep, grassy hill, five shepherds kneel, sit, and recline around and among two cows, several sheep, a goat, and a dog in the lower half of this painting, while a winged angel appears in a golden shaft of light in the upper half of this vertical painting. All the people have pale skin. One brown cow spans most of the composition along the bottom, its head facing our left. In the lower left corner, closest to us, a man smoking a long pipe reclines against a tangerine-orange cloth. He wears a round, brimmed cap, a loose white shirt, tattered gray, knee-length pants, and gray cloth wrapped around his shins above bare feet. He leans on his right elbow and crosses his ankles, as he looks to our right in profile. Next to him, to our right, a woman kneels with her body angled away from us to our right. She bends over, perhaps to milk the cow in front of her with the pail sitting next to her, and she looks back to our left. Her chestnut-brown hair is pulled up and braided or coiled. Her rose-pink dress and the white blouse under it fall off her right shoulder. A slate-gray cloak or scarf wraps around her waist and we see the bottom of one bare foot. On the opposite side of the cow, near its head, a young boy angled to our right, with straight brown hair falling down to his eyebrows, looks down at the animal. Most of his face is in shadow but light catches the tip of his nose and the front of one cheek. To our right, along the edge of the painting, behind the rump of the cow and among the shadows, another young boy is seen from the chest up. He wears with a wide-brimmed, brown hat and reaches his right arm across his body as he looks to our left, toward the streak of light. The head of a second cow stands behind him, only the head visible. The steep, grassy hill rises sharply behind this group and cows.The fifth person leans into the scene from our left, above the reclining man on the orange cloth. He has short brown hair and beard, and a slightly hooked nose. Wearing a rose-pink garment, he looks up at the angel with his right hand shielding his face. A tree trunk rises along the left edge of the painting beyond that man. A dog, sheep, and a goat are tucked in and around the cows. Golden light pours down onto the man in pink from past the angel in the bank of clouds above. Against a night sky with navy-blue clouds, gold and white rays emanate from the parted clouds beyond the angel. Kneeling on a dark, fern-green cloud, the angel leans forward and down, and points down at the shepherd wearing pink with one hand and up with the other. The angel has silvery-gray wings and wears a gray robe. Blond curls lift as if in a breeze. In the landscape below, topaz and aquamarine-blue forms could be mountains or surging waves.
Jacopo Bassano, The Annunciation to the Shepherds, probably 1555/1560, oil on canvas, Samuel H. Kress Collection, 1939.1.126

The Annunciation to the Shepherds

Jacopo Bassano · probably 1555/1560 · oil on canvas ·  Accession ID  1939.1.126

Close to us, six light-skinned men crowd into two small wooden boats that together span the width of this horizontal painting. The bow of the boat to our left overlaps the stern of the boat to our right. In the stern of the boat to our left, along the left edge of the canvas, a man, Jesus sits in profile facing our right. A marine-blue garment drapes around his waist and legs over a rose-pink tunic, and three rays of gold light emanate from the top, front, and back of his head. He raises his left hand toward the other two men in his boat. A bearded, balding man wearing marigold orange kneels with his hands pressed together in prayer in front of Jesus. To our right, at the bow of the boat and near the center of the composition, a younger bearded man with flowing hair steps toward Jesus, his arms outstretched. His pink tunic and emerald-green cape billow around him. Two muscular, bare-chested men bend over the side of the boat to our right, pulling in a fishing net. A balding man with a white beard sits in the bow of that boat, his body facing our left. He looks over his left shoulder toward the water and the half-submerged oar he holds. Blue water stretches into the distance between a distant mountain to our left and the meandering shoreline to our right. The horizon where the blue sky meets the water is close to the top edge of the composition.
Jacopo Bassano, The Miraculous Draught of Fishes, 1545, oil on canvas, Patrons' Permanent Fund, 1997.21.1

The Miraculous Draught of Fishes

Jacopo Bassano · 1545 · oil on canvas ·  Accession ID  1997.21.1

The image depicts several figures in various positions, viewed from the waist up or in three-quarter view. One figure appears to be leaning forward, partially obscured by a column; their facial features are soft and not clearly defined, with long flowing hair. Other figures in the composition seem to be bending or kneeling, engaged in a dynamic scene. The attire visible includes draped garments with some having hues of red and green. No jewelry or objects are prominently displayed in their hands. The background is loosely defined, with architectural elements like columns and arches, rendered in soft, muted tones that blend with the figures.
Jacopo Bassano, The Mocking of Christ, 1568, colored chalks on blue laid paper, Andrew W. Mellon Fund, 1980.30.1

The Mocking of Christ

Jacopo Bassano · 1568 · colored chalks on blue laid paper ·  Accession ID  1980.30.1

This is a drawing of an angel descending from the sky towards people in a natural landscape. The figures are reclined among rocks and foliage. In the background is a cityscape with towers and a fortified wall. Below the scene is an inscription in a classical font. The image is monochromatic in brown tones with emphasis on linear contrasts and texture.
John Baptist Jackson, Christ on the Mount of Olives, 1743, woodcut printed in brown on laid paper, Rosenwald Collection, 1946.11.89

Christ on the Mount of Olives

John Baptist Jackson · 1743 · woodcut printed in brown on laid paper ·  Accession ID  1946.11.89

The image features a group of people around a table under an archway, with large trees and a mountainous landscape in the background. Additional elements include a hanging skinned animal, a basket with fish, a strainer, and a rabbit. The color palette is mainly brown, beige, and white.
John Baptist Jackson, Dives and Lazarus (Left Panel), 1743, chiaroscuro woodcut printed from four blocks in buff,brown, and two shades of gray on laid paper, Gift of Ruth Cole Kainen, 2012.92.524

Dives and Lazarus (Left Panel)

John Baptist Jackson · 1743 · chiaroscuro woodcut printed from four blocks in buff,brown, and two shades of gray on laid paper ·  Accession ID  2012.92.524

This is a drawing of a nocturnal landscape scene. The scene shows a celestial being interacting with a kneeling figure in a night-time landscape with rocky outcrops and distant architectural structures. The celestial being emits light, standing out in the darkness. The composition emphasizes contrasts between light and shadow using chiaroscuro techniques. The night sky has clouds, and there are spectators, trees, and vegetation in the landscape.
John Baptist Jackson, Christ on the Mount of Olives, 1743, chiaroscuro woodcut printed from four blocks in buff, medium brown, grey and dark brown on laid paper, Gift of Ruth Cole Kainen, 2012.92.520

Christ on the Mount of Olives

John Baptist Jackson · 1743 · chiaroscuro woodcut printed from four blocks in buff, medium brown, grey and dark brown on laid paper ·  Accession ID  2012.92.520

This is a painting of an outdoor gathering scene. The image depicts a group of figures in a classical setting with architectural elements such as columns and arches. There is a large table covered with a cloth, laden with plates and a goblet. Surrounding the table are various figures engaged in conversation or other activities. Two dogs are at the foreground, one seated and the other looking upward. In the background, lush trees and a scenic view of a distant village can be seen, and an owl is perched above on the arch. The color palette is a blend of sepia tones. This is in the style of Titian.
John Baptist Jackson, Dives and Lazarus (Right Panel), 1743, chiaroscuro woodcut printed from four blocks in buff, brown, and two shades of gray on laid paper, Gift of Ruth Cole Kainen, 2012.92.664

Dives and Lazarus (Right Panel)

John Baptist Jackson · 1743 · chiaroscuro woodcut printed from four blocks in buff, brown, and two shades of gray on laid paper ·  Accession ID  2012.92.664

This is a detailed drawing of a supernatural scene set in a rocky landscape. A luminous winged figure is depicted in the upper left corner, emitting bright light onto a kneeling figure below. The surrounding terrain includes grassy plants and rocks, with sleeping figures in the foreground. In the distance, a small village or castle is visible under a slightly clouded sky. The overall atmosphere of the artwork is mysterious and spiritual.
John Baptist Jackson, Christ on the Mount of Olives, 1743, chiaroscuro woodcut from four blocks, printed in buff, brown, gray, and dark brown on laid paper [proof impression without final gray]?, Gift of Ruth Cole Kainen, 2012.92.518

Christ on the Mount of Olives

John Baptist Jackson · 1743 · chiaroscuro woodcut from four blocks, printed in buff, brown, gray, and dark brown on laid paper [proof impression without final gray]? ·  Accession ID  2012.92.518

This is a drawing of figures gathered near a riverside landscape. The image shows individuals dressed in flowing garments around an infant on a small stone altar. Some figures gesture towards the baby, while others look on. The background features a cityscape, a bridge, and a large, leafy tree dominating the right side. The drawing is in monochromatic sepia tones, giving it an antique appearance. The detailing in the clothing and the organic forms of the trees contrast with the structured city in the background.
John Baptist Jackson, The Finding of Moses, 1741, chiaroscuro woodcut in buff, light brown, light violet gray, and dark gray, Rosenwald Collection, 1946.11.67.h

The Finding of Moses

John Baptist Jackson · 1741 · chiaroscuro woodcut in buff, light brown, light violet gray, and dark gray ·  Accession ID  1946.11.67.h

This is a print of people in a wooded landscape. In the center, a mostly nude man lies in a cloth, his head tilted backwards. The cloth is held at each end by two other people who appear to be using it to lower the man to the ground. This central group is surrounded by other people who sit or crouch on the ground. Detailed trees form a canopy overhead, with strong shadows and light creating depth. In the background, a cityscape can be seen with buildings and a hill that has several crosses on top of it.
John Baptist Jackson, The Entombment [recto], 1739, chiaroscuro woodcut in black [trial proof of key block], Rosenwald Collection, 1946.11.87.a

The Entombment [recto]

John Baptist Jackson · 1739 · chiaroscuro woodcut in black [trial proof of key block] ·  Accession ID  1946.11.87.a