Floor plan

Artist galleriesBattista Dossi's contemporaries

Battista Dossi's contemporaries

Holy Family with a Shepherd, by Battista Dossi, early 1520s
Two women and a man support the gray, lifeless body of a nearly nude man along a stone ledge in this vertical painting. The people have pale skin, except for the dead man at the center, Jesus, who has ash-white skin with dark shadows around his closed eyes. He has a long straight nose, and his lips are slightly parted. He has a brown beard, and his long, wavy hair falls away from his face. A white cloth wraps across his hips, and blood trickles from a gash over his right ribs and holes in his feet. A woman and man prop him up on either side, each holding Jesus by a limp arm, and each has a faint, gold halo encircling their heads. To our left, the woman holds her face close to his, her brows deeply furrowed and her mouth wide open, teeth showing. Her forehead, chin, and neck are covered by a white veil, worn under navy-blue cloak that covers her head and body. The cloak falls open over one arm and a bent knee to reveal her long-sleeved, lighter blue dress. On Jesus’s other side, a cleanshaven man with curly brown hair holds Jesus’s arm with both hands. The man’s eyes squint with tears as he tips his head toward Jesus. His pink lips are parted, and the corner of the mouth we can see is pulled down. He wears an emerald-green, long-sleeved tunic under a vivid red cloth that wraps around his right arm, waist, and left leg. The fourth and final person is a woman sitting on the ground, her arms wrapped tightly around Jesus’s crossed ankles. She sits with one foot tucked under her body and the other leg out straight. Waist-length, wavy, auburn-brown hair falls freely over her shoulders and across her face, but we can see her downturned, open mouth and nearly closed eyes. She wears a rose-pink dress, cinched at the waist. A brown cloth wraps around her waist and right leg. A cylindrical, lidded, white jar sits on the dirt ground nearby. The group is arranged in front a thigh-high stone ledge, except for the man in green and red, who steps into what is presumably the coffin. A rocky outcropping to our right has a cave-like opening with grasses and growth along the top. The landscape beyond has a dirt path winding between pine-green hills dotted with trees. Two slate-blue buildings perch atop one hill. White clouds float across the blue sky above.
Venus and Cupid, by Lorenzo Lotto, 1520s
Venus and Adonis, by Titian, 1550s
The Baptism of Christ, by Jacopo Bassano, ca. 1590
A work made of pen and brown ink on dark cream laid paper, laid down on laid paper, with pen and ink and gold ruled lines.

The works in this room are listed below.

Works in this room

A few works by Battista Dossi, then their contemporaries: makers of the same nationality born within 25 years of them, then works from the same century and place.

With their contemporaries

  1. Holy Family with a Shepherd, by Battista Dossi, early 1520s
    Holy Family with a ShepherdBattista Dossi, early 1520sCourtesy of the Cleveland Museum of Art
  2. Two women and a man support the gray, lifeless body of a nearly nude man along a stone ledge in this vertical painting. The people have pale skin, except for the dead man at the center, Jesus, who has ash-white skin with dark shadows around his closed eyes. He has a long straight nose, and his lips are slightly parted. He has a brown beard, and his long, wavy hair falls away from his face. A white cloth wraps across his hips, and blood trickles from a gash over his right ribs and holes in his feet. A woman and man prop him up on either side, each holding Jesus by a limp arm, and each has a faint, gold halo encircling their heads. To our left, the woman holds her face close to his, her brows deeply furrowed and her mouth wide open, teeth showing. Her forehead, chin, and neck are covered by a white veil, worn under navy-blue cloak that covers her head and body. The cloak falls open over one arm and a bent knee to reveal her long-sleeved, lighter blue dress. On Jesus’s other side, a cleanshaven man with curly brown hair holds Jesus’s arm with both hands. The man’s eyes squint with tears as he tips his head toward Jesus. His pink lips are parted, and the corner of the mouth we can see is pulled down. He wears an emerald-green, long-sleeved tunic under a vivid red cloth that wraps around his right arm, waist, and left leg. The fourth and final person is a woman sitting on the ground, her arms wrapped tightly around Jesus’s crossed ankles. She sits with one foot tucked under her body and the other leg out straight. Waist-length, wavy, auburn-brown hair falls freely over her shoulders and across her face, but we can see her downturned, open mouth and nearly closed eyes. She wears a rose-pink dress, cinched at the waist. A brown cloth wraps around her waist and right leg. A cylindrical, lidded, white jar sits on the dirt ground nearby. The group is arranged in front a thigh-high stone ledge, except for the man in green and red, who steps into what is presumably the coffin. A rocky outcropping to our right has a cave-like opening with grasses and growth along the top. The landscape beyond has a dirt path winding between pine-green hills dotted with trees. Two slate-blue buildings perch atop one hill. White clouds float across the blue sky above.
    PietàMoretto da Brescia, 1520sCourtesy National Gallery of Art, Washington
  3. Venus and Cupid, by Lorenzo Lotto, 1520s
    Venus and CupidLorenzo Lotto, 1520sCourtesy of The Metropolitan Museum of Art

Their contemporaries

  1. Venus and Adonis, by Titian, 1550s
    Venus and AdonisTitian, 1550sCourtesy of The Metropolitan Museum of Art
  2. The Baptism of Christ, by Jacopo Bassano, ca. 1590
    The Baptism of ChristJacopo Bassano, ca. 1590Courtesy of The Metropolitan Museum of Art
  3. A work made of pen and brown ink on dark cream laid paper, laid down on laid paper, with pen and ink and gold ruled lines.
    The Flight into EgyptDomenico Campagnola, c. 1540Courtesy of the Art Institute of Chicago

Their contemporaries, second

  1. Venus Reclining in a Landscape, by Giulio Campagnola, c. 1508–9
    Venus Reclining in a LandscapeGiulio Campagnola, c. 1508–9Courtesy of the Cleveland Museum of Art
  2. A work made of red chalk and brush and red chalk wash (recto) and black chalk, with black chalk grid lines, (verso) on cream laid paper.
    A Drapery Study for the Knees of a Seated Allegorical Figure of Charity (recto); Bust of a Naked Allegorical Figure of Charity with Two Putti (verso)Giovanni Antonio di Francesco Sogliani, 1520/30Courtesy of the Art Institute of Chicago