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PORDENONE, IL (1483-1539)

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Originally appearing in Volume V22, Page 102 of the 1911 Encyclopedia Britannica.
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PORDENONE, IL (1483-1539) , an eminent painter of the Venetian school, whose correct name was Giovanni See also:Antonio Licinio, or Licino. He was commonly named Il Pordenone from having been See also:born in 1483 at Corticelli, a See also:village near Pordenone (q.v.) in See also:Italy. He ultimately dropped the name of Licinio, having quarrelled with his See also:brothers, one of whom had wounded him in the See also:hand; he then called himself Regillo, or De Regillo. His See also:signature runs " See also:Antonius Portunaensis," or " De Portunaonis." He was created a See also:cavaliere by See also:Charles V. As a painter Licinio vias a See also:scholar of Pellegrino da S. Daniele, but the leading See also:influence which governed his See also:style was that of See also:Giorgione; the popular See also:story that he was a See also:fellow-See also:pupil with See also:Titian under Giovanni See also:Bellini is incorrect. The See also:district about Pordenone had been somewhat fertile in capable painters; but Licinio excelled them all in invention and See also:design, and more especially in the See also:powers of a vigorous chiaroscurist and flesh painter. Indeed, so far as See also:mere flesh-See also:painting is concerned he was barely inferior to Titian in breadth, pulpiness and See also:tone; and he was for a while the See also:rival of that See also:great painter in public regard. The two were open enemies, and Licinio would sometimes affect to See also:wear arms while he was painting. He excelled Giorgione in See also:light and shade and in the effect of See also:relief, and was distinguished in See also:perspective and in portraits; he was equally at See also:home in See also:fresco and in oil-See also:colour. He executed many See also:works in Pordenone and elsewhere in See also:Friuli, and in See also:Cremona and See also:Venice; at one See also:time he settled in See also:Piacenza, where is one of his most celebrated See also:church pictures, " St See also:Catherine disputing with the Doctors in See also:Alexandria "; the figure of St See also:Paul in connexion with this picture is his own portrait. He was formally invited by See also:Duke See also:Hercules II. of See also:Ferrara to that See also:court; here soon after-wards, in 1539, he died, not without suspicion of See also:poison.

His latest works are comparatively careless and superficial; and generally he is better in male figures than in See also:

female—the latter being somewhat too sturdy—and the See also:composition of his subject-pictures is scarcely on a level with their other merits. Pordenone appears to have been a vehement self-asserting See also:man, to which his style as a painter corresponds, and his morals were not unexceptionable. Three of his See also:principal scholars were Bernardino Licinio, named Il Sacchiense, his son-in-See also:law Pomponio See also:Amalteo, and Giovanni Maria Calderari. The following may be named among Pordenone's works: the picture of " S See also:Luigi See also:Giustiniani and other See also:Saints," originally in S Maria dell' Orto, Venice; a " Madonna and Saints " (both of these in the Venice See also:academy); the " Woman taken in See also:Adultery," in the See also:Berlin museum; the " See also:Annunciation," at See also:Udine, regarded by See also:Vasari as the artist's masterpiece, now damaged by restoration. In See also:Hampton Court is a duplicate See also:work, the " Painter and his See also:Family "; and in See also:Burghley See also:House are two See also:fine pictures now assigned to Pordenone—the " Finding of See also:Moses " and the " See also:Adoration of the See also:Kings." These used to be attributed to Titian and to See also:Bassano respectively.

End of Article: PORDENONE, IL (1483-1539)

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