An English Frigate In The Bay Of Naples by John Thomas Serres
Figures on a beach near Naples by Giovanni Serritelli
View of Brussels from the NorthEast by Hercules Seghers
Cattle watering in a River Landscape, believed to be Chile by Thomas Jacques Somerscales
The Castle of Ischia by Clarkson Stanfield
Landscape with Rocky Hills and Stream by William Louis Sonntag
Landscape with Waterfall and Figures by William Louis Sonntag
The Tale Of Kynon by George Sheringham
An Extensive River landscape, Probably Derbyshire, With Drovers And Their Cattle In The Foreground by Jan Siberechts
Landscape with Rainbow, Henley-on-Thames by Jan Siberechts
| Nationality | Italian |
| Skills | Painter |
| Born | 1453 (Fossano, Italy) |
| Died | 1523 |
| Period | Renaissance |
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Loading...This painting from the late period of the artist was executed for a cell in the Certosa di Pavia. In the background two seated monks can be seen.
(No Ratings Yet)Loading...This early work by Bergognone reveals the strong influence of Vincenzo Foppa.
(No Ratings Yet)Loading...In the background to the right, the Charterhouse at Pavia is seen in the course of construction which suggests the dating for this picture. Bergognone was one of the leading painters in Milan at the time, and made several paintings for Pavia
(No Ratings Yet)Loading...The central panel (89 x 76 cm) depicts the Presentation in the Temple, while the left wing (150 x 65 cm) represents St Augustine and a Kneeling Donor, the right wing (150 x 65 cm) St Peter Martyr and a Kneeling Donor. Bergognone inherited from Vincenzo Foppa, the founder of Lombard painting, a strict construction and soft modelling in an ashen, silvery light. However, he was receptive to the innovations brought to Milan by the architect Bramante (architectural perspectives) and Leonardo da Vinci (modelling created by intense chiaroscuro), as also to the monumentality of Florentine art.
(No Ratings Yet)Loading...The intersection of styles characterizes this small panel, in which Northern elements traceable to Rogier van der Weyden are conspicuously present, but so are certain Vincenzo Foppa influences, mainly in the physiognomy of some figures in the middleground, in the facial types and some solutions in the drawing that were to remain unaltered in Bergognone’s works of subsequent years.
