Cosa pensate del pittore Paris Bordon ?

[er uagh]

Cosa pensate di Paris Bordon,pittore veneto attivo nella seconda metà del Cinquecento?Io personalmente lo trovo estremamente sottovalutato,e trovo molto belle molte sue opere,in primis la "Betsabea"conservata a Colonia,nella quale inserisce la scena in un'architettura classicheggiante che rispetta le regole prospettiche dettate dal Serlio.Purtroppo ancora non sono riuscito a trovare un'immagine di quest'opera da mettere nel forum,ma vi prometto di metterla non appena la troverò,a meno che qualcun altro non faccia prima di me.

[skorpion (POL)]

In attesa di Betsabea, posto questa bella immagine di Paris Bordon, San Giorgio e il drago, 1525, Roma, Pinacoteca Vaticana

In merito a questo artista condivido a pieno il giudizio di er uagh, e ritengo anch'io che lo stesso meriterebbe maggiore attenzione da parte degli addetti ai lavori.
Quello che mi ha colpito principalmente al di là dell'indubbia maestrìa, è la "modernità" delle figure.
Posteremo altre immagini di questo pittore perchè ne vale veramente la pena.
Un saluto

[Luca]

Allegory with Lovers
1550
Oil on canvas, 111,5 x 174,5 cm
Kunsthistorisches Museum, Vienna

[Luca]

Allegory
1558-60
Oil on canvas, 110 x 131 cm
The Hermitage, St. Petersburg

[Luca]

Nude
-
Pencil and chalk on paper, 32 x 20 cm
Galleria degli Uffizi, Florence

[Luca]

The Presentation of the Ring
1534
Oil on canvas, 370 x 301 cm
Gallerie dell'Accademia, Venice



Commento in inglese:

After a phase of admiring study of Titian and Giorgione, Paris Bordone directed his attention first towards the impetuous art of Pordenone and then towards the intimistic narrative strength of the Brescians, to reach during the 1530s a brief period of equilibrium between sumptuousness of colour, inherited from Titian, and the adventurous freedom of composition learnt from the Mannerists. The universally recognized masterpiece of this period is the canvas Bordone painted in 1534 for the Hall of the Albergo in the Scuola Grande di San Marco.

The subject of the picture is the second part of a legend which was very dear to Venetians. An old fisherman hands the Doge the ring given him by St. Mark as a proof of the help he gave the saint and two other patron saints of Venice, George and Nicholas, by taking them in his boat to the mouth of the lagoon at the Lido in order that they might make the sign of the cross to sink a boatful of demons that were on their way to threaten Venice with a terrible tempest. The naturalness of the scene, so rich in costumes, portraits and Lombardesque architecture, loses something of its intensity because of the theatrical nature of the architectural setting and because of the rhetorical quality of all the physical and spiritual reactions to the extraordinary event. Thus arises a sort of subtle uneasiness which spreads from the centre stage into the architectural wings of the scene and creates the impression of the rarified atmosphere of an event unrelated to time.

[Luca]

Venus and Mars with Cupid
1559-60
Oil on canvas, 118 x 130,5 cm
Galleria Doria-Pamphili, Rome

Il quadro di Paris Bordon, di chiaro soggetto allegorico con riferimenti mitologici, rappresenta Venere, Marte e Cupido in un paesaggio naturale, denso di ombre nella vegetazione, che si apre in un azzurro squarcio di cielo striato dalle nuvole in alto a sinistra. accanto.

La tela del grande pittore veneto del cinquecento è in ottime condizioni. Un restauro condotto alcuni anni orsono ha rimosso una ridipintura a carattere censorio sul dècolletè della dea.




Commento in inglese:

The painting is signed at bottom left on tree trunk: .O. PARIDIS. /bordono

The beautiful courtesan, with a bright scarlet dress that falls in cascades, appears in two guises. One is Venus, with an apple (or an orange, which the infant Jesus also holds sometimes instead of an apple, and which represents desire, so that it has the same metaphorical value), symbol of love and beauty, given to her by Bacchus. The fruit has a multitude of erotic associations and also alludes to the artist's own name (Paris). But she also takes on the allegorical significance of Victory, who usually holds a pomegranate in her right hand and a helm in her left. By this she is, in turn, referring to Mars, disarmed by Cupid, winged boy and the son of Venus, seated on the armor. Mars, according to Aristotle, is rightly linked with Venus, for men of war are strongly inclined to lust.

The victorious Venus rests on the stump of a tree. Behind stands a stag, symbol of nobility and courtesy and emblem of the royal house of France. As well as suggesting who may have commissioned the painting, this hints at a connection between Mars and Actaeon, whose attribute is the stag. Its antlers, resembling the branches of a tree, are periodically renewed, symbolizing the continual rebirth of life. Having got this far, we can attempt a more detailed interpretation of the subject, in which, behind the common mythological theme of Mars, Venus, and Cupid, is concealed an 'Allegory of the victory of love (and of beauty) that always overcomes martial vigour,' a subject that could have been dedicated to two people in love or, on the contrary, reflect the world of courtesans, as might seem more likely from the naked breasts, the colour of the dress, and the blond tresses of the woman.

It is no surprise that between 1649 and 1652, when the painting is mentioned for the first time in the collection, its subject remained an enigma and was not stated. It is clear that this sensuous mythological fable of extraordinary chromatic richness, full of stylistic preciosities as well as decorative qualities in the sumptuousness and beauty of the fabrics, has connections with the world of chivalry, the refinements of aristocratic courtesy, the works of erotic art, and the exquisite and elegant style of the Mannerists, that are all typical of Fontainebleau. We know that the artist visited the French court, perhaps twice, in 1538/39 during the reign of Francis I and in 1559/60, in the time of Francis II. Recently critics have dated this painting to both the first and the second of these visits. The second is more likely given the highly evolved style of the work.

[Luca]

The Venetian Lovers
-
Oil on canvas, 95 x 80 cm
Pinacoteca di Brera, Milan



Commento in inglese:

One of Bordone's most celebrated works, this painting represents a favourite subject of early sixteenth-century Venetian art. Its Giorgionesque reminiscences, here reduced to a sort of bourgeois languor, date it around 1525-30. Yet it also shows a Mannerist restlessness that relates it to contemporary work by Palma il Vecchio. The scene is one of venal love (note the pallor of the man embracing the woman). Although the mysterious third figure with the swaggering air may portray a procurer, his artist's beret suggests that it may be a self-portrait. In that case the meaning of the work would be allegorical rather than specific.

[er uagh]

Ragazzi non riesco a trovare in internet la Betsabea...però in conpenso ho trovato numerose raffigurazioni di Betsabea di altri autori molto belle...penso che aprirò una discussione sulle raffigurazioni di Betsabea...sperando che vi possa interessare anche quella!

[er uagh]

Paris Bordon "Venere dormiente"