Paris Bordone. Paris Bordon was an Italian painter of the Venetian Renaissance who, despite training with Titian, maintained a strand of Mannerist complexity and provincial vigor.
Bordone was born in Treviso, but had moved to Venice by late adolescence. He apprenticed briefly and unhappily with Titian.
Vasari may have met the elder Bordone. From the 1520s, we have works by Bordone, including the Holy Family in Florence, Sacra Conversazione with Donor, and Holy Family with St. Catherine.
The St. Ambrose and a Donor is now in the Pinacoteca di Brera. In 1525-26, Bordone painted an altarpiece for the church of S. Agostino in Crema, a Madonna with St. Christopher and St George.
A second altarpiece, Pentecost, is also in the Pinacoteca di Brera. In 1534-35, he painted his large-scale masterpiece for the Scuola di San Marco a canvas of The Fisherman Presenting the Ring to Doge Gradenigo. However, comparison between this latter painting and the near-contemporary, and structurally similar, Presentation of the Virgin reveals Bordone's limitations, his use of superior perspective which creates dwarfed distant perspectives, and limited coloration relative to the brilliant tints of Titian. Bordone is at his best in his smaller cabinet pieces, showing half-figures, semi-undressed men and women from mythology or religious stories in a muscular interaction despite the crowded space. Paris Bordone subsequent
Bordone was born in Treviso, but had moved to Venice by late adolescence. He apprenticed briefly and unhappily with Titian.
Vasari may have met the elder Bordone. From the 1520s, we have works by Bordone, including the Holy Family in Florence, Sacra Conversazione with Donor, and Holy Family with St. Catherine.
The St. Ambrose and a Donor is now in the Pinacoteca di Brera. In 1525-26, Bordone painted an altarpiece for the church of S. Agostino in Crema, a Madonna with St. Christopher and St George.
A second altarpiece, Pentecost, is also in the Pinacoteca di Brera. In 1534-35, he painted his large-scale masterpiece for the Scuola di San Marco a canvas of The Fisherman Presenting the Ring to Doge Gradenigo. However, comparison between this latter painting and the near-contemporary, and structurally similar, Presentation of the Virgin reveals Bordone's limitations, his use of superior perspective which creates dwarfed distant perspectives, and limited coloration relative to the brilliant tints of Titian. Bordone is at his best in his smaller cabinet pieces, showing half-figures, semi-undressed men and women from mythology or religious stories in a muscular interaction despite the crowded space. Paris Bordone subsequent
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