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Vincenzo Catena The Supper at Emmaus 1520/30
Galleria degli Uffizi, Florence
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Vincenzo Catena Giangiorgio Trissino (mk05) Canvas,28 1/2 x 25 1/4''(73 x 64 cm).Given to the Louvre in 1914
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Vincenzo Catena The Supper at Emmaus mk60
Panel
51 3/16"x97 7/8in
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Vincenzo Catena A Muslim Warrior Adoring the Infant Christ and the Virgin mk170
1520-1525
Oil on canvas
156.3x267.3cm
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Vincenzo Catena Saint Jerome in His Study mk170
Circa 1510
Oil on canvas
75.9x98.4cm
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Vincenzo Catena Portrait of a Young Man Date between 1505(1505) and 1510(1510)
Medium Oil on wood
Dimensions Height: 31 cm (12.2 in). Width: 24 cm (9.4 in).
cjr
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Vincenzo Catena Portrait of the Doge, Andrea Gritti Oil on canvas
Dimensions Height: 97.2 cm (38.3 in). Width: 79.4 cm (31.3 in).
cjr
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Vincenzo Catena Portrait of a Young Man between 1505(1505) and 1510(1510)
Medium Oil on wood
cyf
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Vincenzo Catena Portrait of humanist Gian Giorgio Trissino 1510(1510)
Medium Oil on canvas
Dimensions 28 3/8 x 25 inches (72.14 x 63.50 cm)
cjr
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Vincenzo Catena A Warrior adoring the Infant Christ and the Virgin oil on canvas
Dimensions Height: 155.3 cm (61.1 in). Width: 263.5 cm (103.7 in).
cjr
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Vincenzo Catena
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Italian
c1480-1531
Vincenzo Catena Location
Italian painter. His paintings represent the perpetuation of the style of Giovanni Bellini into the second quarter of the 16th century. He made few concessions to the modern style that was being introduced to Venice by Titian, Palma Vecchio, Pordenone and others in the same period. This archaicizing tendency was shared by several minor Bellinesque painters of the period, including Pietro degli Ingannati, Pietro Duia, Francesco Bissolo, Vittore Belliniano and the Master of the Incredulity of St Thomas. Catena, together with Marco Basaiti, with whose works Catena are sometimes confused, can be considered the most accomplished of these. Despite the fact that he counted several humanists in his circle, the extant repertory of his subjects is limited to religious themes, mainly Marian and including three altarpieces, and to male portraits. The latter, as Vasari observed, include several of his finest works.
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