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Panel depicting pastoral scene attributed to Gerolamo da Ponte ( Bassano)
About the Item
Gerolamo da Ponte (attr.) (Bassano 1566 - Venice 1621)
Pastoral Scene
Oil on panel, 44.5 x 36 cm
The Da Ponte family are concordantly known as Bassano, after the name of their city of origin, Bassano del Grappa: this conventional designation was fixed by art critics during the modern age. The Da Ponte's was an ante litteram, family-run business enterprise that operated for about a century and a half. Begun by Francesco the Elder in the very early years of the sixteenth century, it achieved great appreciation throughout northern Italy under the personality of Jacopo, beginning in the second half of the fourth decade assisted by his brothers Giambattista and Gianfrancesco. After him, it would be his sons Francis the Younger, Giambattista, Leandro and Jerome who would be the interpreters of the family tradition. Jacopo's successors used to take up the iconographic patterns and technical devices of the master, resulting in numerous versions of his best-known and commercially successful paintings. The painting has the typical Bassano style characteristics but it is curious that, in some of the most distinguished monographs devoted to the family of painters, first and foremost that of Edoardo Arslan, no such composition is recorded among Jacopo's works. Indeed, it is well known that the workshop was prolific in reiterating with minimal variations the proven paternal iconographies and that the same were in turn employed by its pupils. The analysis of the canvas under examination thus registers its own compositional autonomy, and observing the drafts and the type of faces, we recognize the characteristic pictorial conduct of Gerolamo da Ponte, the last son of Jacopo who ran the important workshop with his brother Giambattista during the first two decades of the seventeenth century. Last among Jacopo's sons, Gerolamo da Ponte was born in Bassano on June 3, 1566. A pupil and imitator of his father, he carried out an intense activity as a copyist. As early as 1580-81 he collaborated with Jacopo on the altarpiece with the Virgin and Saints Agatha and Apollonia, now in the Bassano Museum. He demonstrated particular skill, using a free, dismissive, almost haphazard brushstroke, a far cry from his father Jacopo's "constructive" one, basing his color range on notes of purplish, silvery gray, brown and olive. When his father died, Jerome leaned on Leandro, but his painting, which in his youthful phase had reported significant peaks of originality, lapsed into sterile formulas and excessive repetitiveness of models. After 1595 he moved to Venice, where he married Zanetta Biava, though he always remained in touch with his native place. Jerome's hand can be recognized in several works of the Bassanesque school, such as St. John the Evangelist in the Square Drawing Room in the Doge's Palace, a pallet with three saints at Hampton Court, and the Virgin with Sts. Fortunato and Ermagora, now in the Bassano Museum.
The painting depicts a nocturnal pastoral scene with two human figures and a flock of sheep. In the left foreground, a young shepherd in red clothing is intent on caring for the sheep. On the right, a second, older shepherd, dressed in dark clothing and wearing a hat, leads a majestic bull with glistening horns to pasture. A fine still life piece stands out in the lower right section of the painting. Attention to detail, realistic rendering of figures and animals, and the skillful use of chiaroscuro are elements, found in this painting, that certainly mark the activity of the second generation of the Bassano workshop.
- Attributed to:Gerolamo Bassano (1566 - 1621)
- Dimensions:Height: 17.52 in (44.5 cm)Width: 14.18 in (36 cm)
- Medium:
- Period:
- Condition:
- Gallery Location:Milan, IT
- Reference Number:1stDibs: LU2639216022402
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