Jacopo Bassano

Ponte, Jacopo da
Ponte, Giacomo 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

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

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

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

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

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

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

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

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