Marco Basaiti

{{Short description|Italian painter (c. 1470 – 1530)}}

[[File:Accademia - Vocazione deifigli di Zebedeo by Marco Basaiti Cat.39.jpg|thumb|''Call of the Sons of Zebedee'', 1510]]

'''Marco Basaiti''' ({{circa|1470}} – 1530) was a Venetian painter of the Renaissance who worked mainly in Venice and was a contemporary of Giovanni Bellini and Cima da Conegliano.<ref name=":2">[http://www.artfortune.com/marco-basaiti/artistbiographies-199786/ "Marco Basaiti"] {{Webarchive|url=https://web.archive.org/web/20170405170310/http://www.artfortune.com/marco-basaiti/artistbiographies-199786/ |date=2017-04-05 }}. ''ArtFortune.com''. March 3, 2017.</ref> He has been referred to by several names including '''Marco Baxaiti''', '''Marcus Basitus''', and '''Marcus Baxiti'''. (Vasari believed that Marco Basarini and Marco Basaiti were two artists, but later information reveals that these two were in fact the same painter.)<ref name=":0">Mauro Lucco. "Basaiti, Marco." ''Grove Art Online''. ''Oxford Art Online''. Oxford University Press. Web. 4 Apr. 2017. http://www.oxfordartonline.com/subscriber/article/grove/art/T006679 .</ref><ref name=":3">"BASAITI, Marco." ''Benezit Dictionary of Artists''. ''Oxford Art Online''. Oxford University Press. Web. 25 Apr. 2017. http://www.oxfordartonline.com/subscriber/article/benezit/B00013063 .</ref> There is little documentation on Marco Basaiti besides his painting signatures and a guild's ledger of 1530 that records him as a painter of figures.<ref name=":1" />

His works are mainly portraits and religious subjects.<ref name=":1" /><ref name=":4">{{Cite web|url=https://rkd.nl/en/explore/artists/4844|title=Marco Basaiti|website=Rijksbureau V. Kunsthistorische Documentatie|access-date=4 April 2017}}</ref> There is no known painting attributed to Marco Basaiti with a mythological theme.<ref name=":0" /> Although trained in the quattrocento style, Basaiti's career began right at the beginning of the cinquecento style which forced him to attempt to adapt his style to stay current.<ref name=":1" />

== Personal life, training, and influence == Marco Basaiti was born around 1470,<ref name="Shaw, James Byam 1976 193">{{cite book |author= Shaw, James Byam |title= Drawings by old masters at Christ Church, Oxford |publisher= Clarendon Press |year= 1976 |page= 193 | oclc =2633502 |quote= Marco Basaiti who was indeed born of Greek parents, in Friuli, c. 1470 and was a follower of Giovanni Bellini }}</ref> in either Venice<ref name="Vasari, Giorgio 1963 141">{{cite book |author= Vasari, Giorgio |title= The lives of the painters, sculptors, and architects |url= https://archive.org/details/livesofpainterss0000vasa |url-access= registration |publisher= Dent |year= 1963 |page=[https://archive.org/details/livesofpainterss0000vasa/page/141 141] | oclc=175078002 |quote= Marco Basaiti, born in Venice of Greek parents }}</ref><ref name="Ansell, Florence Jean 2008 229">{{cite book |author= Ansell, Florence Jean |title= The Art of the Munich Galleries |publisher= READ BOOKS |year= 2008 |page=229 |isbn= 978-1-4437-5543-6 |quote= Of a somewhat later date and severer style was Marco Basaiti, who was born of Greek parents in Venice, and who was a pupil and assistant of Luigi Vivarini and later Giovanni Bellini, whose influence in the softness of his later works can be easily traced. }}</ref> or Friuli.<ref name="Shaw, James Byam 1976 193"/><ref name="Rose, Hugh James 2008 293">{{cite book |author= Rose, Hugh James |title= A New General Biographical Dictionary, Volume III |publisher= BiblioBazaar |year= 2008 |page=293 |isbn= 978-0-559-38853-8 |quote= BASAITI, (Marco del Friuli,) an Italian painter, a native of Friuli, whence his designation. He was born of Greek parents, and flourished about 1510 }}</ref> His family was of either of Albanian<ref name="di.)Furlan1999">{{cite book|author1=Fabio Maniago (conte di.)|author2=Caterina Furlan|title=Storia delle belle arti friulane|url=https://books.google.com/books?id=BkhJAQAAIAAJ|year=1999|publisher=Fondazione Cassa di Risparmio di Udine e Pordenone|page=18|quote=Veneziano di probabile origine albanese}}</ref><ref name="italiana1976">{{cite book|author=Pacini|title=Problemi di morfosintassi dialettale|url=https://books.google.com/books?id=quQlAAAAMAAJ|year=1976|publisher=Centro di studio per la dialettologia italiana|page=6|quote=L'opinione di F. Babinger (*) secondo cui il pittore veneziano Marco Basaiti, il quale operò intorno agli anni 1500-1530, fosse di origine albanese, a mio avviso trova conferma nel fatto che Bazaiti appare ancor oggi come nome di famiglia nella città di Delvina }}</ref><ref name="Preyer, David Charles 2008 39">{{cite book |author= Preyer, David Charles |title= The Art of the Vienna Galleries |publisher= BiblioBazaar |year= 2008 |page=39 |isbn= 978-0-559-69564-3 |quote= Trained in the same school was the Greek Marco Basaiti, from whom we find a smaller replica of the artist's large painting which is now in the Academy at Venice }}</ref><ref name="Hudhri2003">{{cite book|author=Ferid Hudhri|title=Albania Through Art|url=https://books.google.com/books?id=tLNPAAAAMAAJ|year=2003|publisher=Onufri|isbn=978-99927-53-67-5|page=15|quote=[The Albanian exiled community] set up there their own school, which they called “Scuola degli Albanesi” (School of the Albanians). Their textbooks were the works of the Albanian Humanists: Marin Beçikemi (1468-1528) and Marin Barleti (1460-1512). The most renowned painters were Marco Basaiti (1496-1530) and Viktor Karpaçi (1465-1525). Some international academics have referred to them and their Albanian descent.}}</ref> or possibly Greek origin, as Vasari reported.<ref name="Shaw, James Byam 1976 193"/><ref name="Vasari, Giorgio 1963 141"/><ref name="Rose, Hugh James 2008 293"/><ref name="Preyer, David Charles 2008 39"/><ref>{{cite book |author= Waters, Clara Erskine Clement |authorlink=Clara Erskine Clement |title= Painters, Sculptors, Architects, Engravers, and Their Works |url = https://archive.org/details/painterssculpto00wategoog |publisher= Houghton, Mifflin and Co. |year= 1881 |page=[https://archive.org/details/painterssculpto00wategoog/page/n97 75] | oclc =227712073 |quote= Basaiti, Marco. It is not known whether this artist was born at Friuli or Venice. He was of Greek parentage. Flourished from 1496 to 1520. }}</ref><ref>{{cite book |author= Fernau, Joachim |title= The Praeger encyclopedia of old masters |publisher= F.A. Praeger |year= 1959 |page=27 |oclc =444975 |quote= BARTOLOMMEO VENETO (See VENETO) BASAITI Though of Greek parentage Marco }}</ref><ref>{{cite book |author= Sturgis, Russell |title= Manual of the Jarves Collection of Early Italian Pictures |publisher= BiblioBazaar |year= 2008 |page=71 |isbn= 978-0-554-70267-4 |quote= Marco Basaiti, or Baxaiti, born at Venice of a Greek family ... His works are delicate in finish and exquisite in color. }}</ref> In either case this explains the variety of names Basaiti is known by because the Greek and Albanian communities, and other foreign communities, for the most part kept to themselves and do not often appear on Venetian records.<ref>{{Cite web|url=http://www.wga.hu/bio_m/b/basaiti/biograph.html|title=Biography- BASAITI, Marco|last1=Krén|first1=Emily|last2=Marx|first2=Daniel|website=Web Gallery of Art}}</ref> A will dated 1526 may provide evidence of his family, but the connection between Basaiti and this will is debated.<ref name=":0" /><ref name=":1" /> Due to this lack of documentation, not much is known about Basaiti's life, except what scholars can learn about the artist through his art.<ref name=":1" /> left|thumb|''Altarpiece of Saint Ambrose'', Alvise Vivarini and Marco Basaiti, 1503

There is evidence that Basaiti trained with Bartolomeo Vivarini as Basaiti's earlier pieces are thought to reflect Bartolomeo's style and composition. After Bartolomeo died in the late 1490s, it is thought that Basaiti began working with Alvise Vivarini, Bartolomeo's nephew. This is supported by the fact that when Alvise died in 1505, Basaiti was commissioned to finish the altar piece entitled ''St. Ambrose Enthroned with Saints'' that Alvise had left uncompleted. Typically only major assistants working in the studio would have been asked to do this type of work which suggests that Basaiti was closely connected to Alvise by this time. Additionally, Basaiti's work seems to be influenced stylistically by both Vivarinis, further implying the link between Basaiti and these two masters.<ref name=":1">Bonario, Bernard. ''Marco Basaiti: A Study of the Venetian Painter and a Catalogue of His Works.'' 1974''.'' University of Michigan, PhD dissertation. ProQuest Dissertations and Theses Global.</ref>

Basaiti was influenced by a variety of great artists that lived during this era. For example, he began to incorporate more extensive landscapes into his backgrounds, taking inspiration from Giovanni Bellini.<ref>{{Cite web|url=https://www.artble.com/artists/giovanni_bellini/more_information/style_and_technique|title=Giovanni Bellini Style and Technique|website=Artble|language=en|access-date=2017-10-03}}</ref><ref name=":2" /> In fact, some of Bellini’s older works were misattributed to Basaiti for a long period of time.<ref name=":1" /> Another likely influence for Basaiti’s more complex backgrounds is the work of Netherlandish painters. Specifically, it has been noted that after Albrecht Dürer’s stay in Venice, Basaiti’s style shifted somewhat towards more complex and dramatic landscapes with less of an emphasis on the figures in the painting. This style can be seen in the ''Lamentation over the Dead Christ'' and ''St. Jerome in the Wilderness''.<ref name=":0" /> The latter is thought to be a copy of a painting by Cima da Conegliano which presents yet one more important artistic influence in Marco Basaiti’s life. For the most part Basaiti focused on religious themes rarely delving into mythological or historical topics.<ref name=":4" /><ref name=":1" /> Despite this his style seems fairly contemporary with complex composition and correct proportions.<ref name=":0" />

== Early period (1495–1510) == thumb|''Portrait of a Young Man'', 1495 More than half of Basaiti's known works come from this first period in his painting career. This period comes right after his training and is marked by a constantly changing style as Basaiti experiments with his art to find his own personal style. This era is marked by the ''Portrait of a Young Man'' (1495) which represents his first finished piece as an independent painter.<ref name=":1" />

Stylistically there are strong influences from his two proposed mentors in the composition of his paintings, with Bartolomeo specifically influencing his figure design. Notable features of the Antonellian include strong geometric forms and sharp contrast in lighting. Furthermore, in accordance with the style of his proposed masters, Basaiti’s paintings often feature brightly colored clothing and cool skin tones. Indeed, Basaiti’s early works are very like some of Alvise’s established disciples such as Jacopo da Valenza which further confirms the link between Basaiti and Alvise.<ref name=":1" /> left|thumb|''Portrait of a Young Man'', 1505 Around 1500, the influence of the Antonellian school becomes less distinct. Basaiti’s backgrounds become more developed demonstrating the influence of Giovanni Bellini and Northern artists.<ref name=":2" /><ref name=":0" /> This development can be seen in paintings such as in ''Portrait of a Young Man'' (1505), where, in contrast to his first ''Portrait of a Young Man'' (1495), the screen behind the figure has been completely removed and the landscape given more importance. In addition to developing a more complex landscape composition, Basaiti appears to become more concerned with spatial consistency after 1500.<ref name=":1" />

This change to more expressive landscapes coincided with Albrecht Dürer's stay in Venice during 1505–1506. It has been suggested that the landscape style Basaiti adopted is more influenced by Netherlandish paintings than by Bellini.<ref name=":0" />

As Basaiti continued to mix the styles of Alvise and Bellini his paintings become comparable to Cima da Conegliano. However, Basaiti arrived at this mix of styles after Cima and he was never able to exert the same influence.<ref name=":1" />

== Middle period (1510–1520) == thumb|''Agony in the Garden'', 1510–1516 This period represents the most cohesive time stylistically for Basaiti's paintings. It was a prosperous decade for Basaiti and included several large commissions such as the high altarpiece at Sant'Andrea della Certosa, the ''Call of the Sons of Zebedee''.<ref name=":0" /><ref name=":1" /> This piece in particular marked the beginning of his mature period and is considered by Vasari and many later critics to be one of his best pieces.<ref name=":1" /> Unlike the portraits which up until now had been his main artistic endeavors, the ''Calling of the Sons of Zebedee'' is a narrative painting which requires more complex composition, and features a detailed and expansive landscape. Although Basaiti tried to compose narrative paintings later on, none were as successful as this first one. left|thumb|''Resurrection of Christ'', 1520 Another notable example of Basaiti’s work with narrative pieces is the ''Agony of Christ.'' This represents a large commission as the altarpiece of the Foscari in San Giobbe. This altarpiece is set up next similar pieces by Giovanni Bellini and the influence from Bellini in Basaiti's painting is obvious.<ref name=":1" />

Later, during this period, Basaiti’s paintings became more focused and returned to one-figure paintings as intricacies of narrative paintings proved to be too difficult. As seen in the ''Resurrected Christ'' and the ''Blessed Redeemer'', while many aspects of Basaiti’s former success remain, the painting features only one main figure.

Continuing his emphasis on the use of landscapes in paintings, backgrounds became more integrated into the overall painting but the influence of Bellini and of Netherlandish painters is still apparent. As Basaiti’s style developed, the light in his pictures became softer and the components of the painting blended more fluidly.<ref name=":1" /> This gradual shift towards softer lines and an emphasis on natural lighting was the popular style developing during this era. The quattrocento style in which Basaiti was trained was declining in popularity, and his attempts to incorporate some of the new techniques can be seen particularly in his later works.<ref name=":2" /><ref name=":1" />

== Late period ( 1520–1530) == thumb|''Lamentation'', 1527 This was Basaiti's last period and no paintings have been dated after 1530. Basaiti appears on a ledger for a painters guild in 1530 but there is no known mention of him after this ledger and he is presumed to have died in the early years of that decade. According to current estimations, this would have made him 60 around the time of his death. In this last decade of his painting career, his composition became slightly more developed and more in tune with the contemporary style but remained heavily influenced by the quattrocento style. During this time he mainly focused on portraits, which were the area where he was best able to adapt his style to the changing times.<ref name=":1" /> Landscapes started to decline in importance in his paintings although their presence never disappeared completely.

One exception to this trend is the painting ''The Lamentation'' which once again demonstrates Basaiti's ability to compose narrative scenes. The ''Lamentation'' blends many of the influences throughout Basaiti's life and exhibits his progress towards more organic lighting and forms.<ref name=":1" />

Some call Basaiti one of the last masters of the early Renaissance and his works demonstrate a refined quattrocento style. However, despite his best efforts, his works are still generally considered to be one step behind the trends of the Venetian painting of that time.<ref name=":1" />

== Works == There are approximately 30 known pieces currently attributed to Basaiti.<ref name=":2" /><ref name=":1" /> {| class="wikitable" |Date attributed |Painting |Location |Type |- |1495–1500 |Portrait of a Young Man<ref>{{Cite web|url=https://www.nationalgallery.org.uk/paintings/marco-basaiti-portrait-of-a-young-man|title=Portrait of a Young Man|website=The National Gallery}}</ref> |National Gallery London |Oil on panel |- |1496–1505 |The Virgin and Child<ref>{{Cite web|url=https://www.nationalgallery.org.uk/paintings/marco-basaiti-the-virgin-and-child|title=The Virgin and the Child|website=The National Gallery}}</ref> |National Gallery London |Oil on panel |- |1500 |Portrait of a Gentleman<ref>{{Cite web|url=http://risdmuseum.org/art_design/objects/328_portrait_of_a_gentleman|title=Portrait of a Gentleman|website=RISD Museum}}</ref> |RISD Museum, Providence, Rhode Island |Oil on panel |- |1500 |Saint Catherine of Alexandria<ref>{{Cite web|url=http://www.szepmuveszeti.hu/adatlap_eng/saint_catherine_of_alexandria_q_8668|title=Saint Catherine of Alexandria|website=The Museum of Fine Art, Budapest}}</ref> |Szépmüvészeti Múzeum, Budapest |Oil on panel |- |1500–1501 |Virgin and Child with Saint James the Great<ref>{{Cite web|url=http://www.philamuseum.org/collections/permanent/101924.html?mulR=1674734397%7C3|title=Virgin and Child, with Saint James the Great|website=Philadelphia Museum of Art}}</ref> |Philadelphia Museum of Art |Oil on panel |- |1500–1505 |Portrait of Doge Agostino Barbarigo<ref>{{Cite web|url=http://www.szepmuveszeti.hu/adatlap_eng/portrait_of_doge_agostino_barbarigo_8604|title=Portrait of Doge Agostino Barbarigo|website=Museum of Fine Arts, Budapest}}</ref> |Szépmüvészeti Múzeum, Budapest |Oil on panel |- |1500–1510 |Madonna and Child with Saint Chiara and Saint Francis<ref>{{Cite web|url=http://www.lacarrara.it/en/catalogo/06ac00914/|title=Madonna col Bambino e i santi Chiara e Francesco d'Assisi|website=Academia Carrara|access-date=2017-04-25|archive-date=2021-06-10|archive-url=https://web.archive.org/web/20210610155802/https://www.lacarrara.it/en/catalogo/06ac00914/|url-status=dead}}</ref> |Academia Carrara |Oil on panel |- |1500–1510 |Portrait of a Man in a Cap<ref>{{Cite web|url=http://www.archiviodellacomunicazione.it/Sicap/ENG/ArtWorks/2338/?WEB=MuseiVE|title=File 2338|website=Fondazione Musei Civici Venezia}}</ref> |Museo Correr, Venice |Tempera on panel |- |1501–1502 |Madonna and Child with a Donor<ref>{{Cite web|url=https://european-art.findthedata.com/l/1509/Madonna-and-Child-with-a-Donor|title=Madonna and Child with a Donor by Marco Basaiti|website=Find the Data, Graphic IQ}}{{Dead link|date=March 2020 |bot=InternetArchiveBot |fix-attempted=yes }}</ref> |Location unknown |Tempera on panel |- |1503 |Altarpiece of Saint Ambrose<ref>{{Cite web|url=http://www.wga.hu/html_m/v/vivarini/alvise/ambrose.html|title=Altarpiece of St Ambrose|website=Web Gallery of Art}}</ref> |Frari Basilica |Oil on panel |- |1505 |Portrait of a Young Man<ref>{{Cite web|url=http://www.artnet.com/artists/marco-basaiti/portrait-of-a-young-man-alvise-de-franceschi-diTkDIk2ELFrrSKoFESZ8A2|title=Past Auction, Portrait of a Young Man, Marco Basaiti|website=Artnet}}</ref> |Private collection |Oil on panel |- |1508 |The Deposition<ref>{{Cite web|url=http://www.the-athenaeum.org/art/detail.php?ID=154801|title=The Deposition|website=The Athenaeum|access-date=2017-04-25|archive-date=2021-06-10|archive-url=https://web.archive.org/web/20210610155751/http://www.the-athenaeum.org/art/detail.php?ID=154801|url-status=dead}}</ref> |Alte Pinakothek, Bayerische Staatsgemäldesammlungen |Oil on panel |- |1508 |Virgin and Child with Saints<ref>{{Cite web|url=http://webapps.fitzmuseum.cam.ac.uk/explorer/index.php?qu=Basaiti%20OR%20Maker:Basaiti%20AND%20Maker:Marco&oid=116|title=Virgin and Child with Saints|website=The Fitzwilliams Museum|access-date=2017-04-25|archive-date=2019-10-25|archive-url=https://web.archive.org/web/20191025164729/https://webapps.fitzmuseum.cam.ac.uk/explorer/index.php?qu=Basaiti%20OR%20Maker:Basaiti%20AND%20Maker:Marco&oid=116|url-status=dead}}</ref> |Fitzwilliam Museum, University of Cambridge |Tempera on panel |- |1510 |The Call of the Sons of Zebedee<ref>{{Cite web|url=http://www.wga.hu/html_m/b/basaiti/callsons.html|title=Calling of the Sons of Zebedee|website=Web Gallery of Art}}</ref> |Galleria dell Accademia, Venice |Oil on panel |- |1510 |Dead Christ<ref>{{Cite web|url=http://www.szepmuveszeti.hu/adatlap_eng/dead_christ_q_class_highlightedtext_9423|title=Dead Christ|website=Museum of Fine Arts, Budapest}}</ref> |Szépmüvészeti Múzeum, Budapest |Oil on panel |- |1510 |Madonna and Child<ref>{{Cite web|url=http://georgiamuseum.org/kressproject/from-the-collection/madonna-and-child1|title=From the collection|website=Georgia Museum of Art|access-date=2017-04-25|archive-date=2017-05-17|archive-url=https://web.archive.org/web/20170517130654/http://georgiamuseum.org/kressproject/from-the-collection/madonna-and-child1|url-status=dead}}</ref> |Georgia Museum of Art, Athens Georgia |Oil on panel |- |1510–1516 |Christ Praying in the Garden (Agony in the Garden)<ref>{{Cite web|url=http://www.wga.hu/html_m/b/basaiti/praying.html|title=Christ Praying in the Garden|website=Web Gallery of Art}}</ref> |Galleria dell'Accademia, Venice |Oil on panel |- |1515–1516 |Portrait of a Gentleman with a Cap<ref>{{Cite web|url=http://www.lacarrara.it/en/catalogo/81lc00188/|title=Ritratto di gentiluomo con pelliccia|website=Academia Carrara|access-date=2017-04-25|archive-date=2021-06-10|archive-url=https://web.archive.org/web/20210610155759/https://www.lacarrara.it/en/catalogo/81lc00188/|url-status=dead}}</ref> |Academia Carrara |Oil on panel |- |1517 |Blessed Redeemer<ref>{{Cite web|url=http://www.lacarrara.it/en/catalogo/58ac00025/|title=Redentore benedicente|website=Academia Carrara|access-date=2017-04-25|archive-date=2019-10-25|archive-url=https://web.archive.org/web/20191025164724/https://www.lacarrara.it/en/catalogo/58ac00025/|url-status=dead}}</ref> |Academia Carrara |Oil on panel |- |1518–1519 |Madonna and Child with Saint John the Baptist and Saint Liberalis<ref>{{Cite web|url=https://commons.wikimedia.org/wiki/File:Basaiti_Madonna_and_Child.jpg|title=Madonna and Child with St. John the Baptist and St. Liberalis|website=WikiCommons}}</ref> |Muzeum Palacu Krola Jana III w Wilanowie, Warsaw |Oil on panel |- |1520 |Madonna Adoring the Child<ref>{{Cite web|url=https://www.artsy.net/artwork/marco-basaiti-madonna-adoring-the-child|title=Marco Basaiti- Madonna Adoring the Child|website=Artsy}}</ref> |National Gallery of Art, Washington |Oil on panel |- |1520 |The Resurrection of Christ<ref>{{Cite web|url=http://www.lacarrara.it/en/catalogo/58ac00062/|title=Resurrezione di Cristo|website=Academia Carrara|access-date=2017-04-25|archive-date=2021-06-10|archive-url=https://web.archive.org/web/20210610155758/https://www.lacarrara.it/en/catalogo/58ac00062/|url-status=dead}}</ref> |Accademia Carrara |Oil on canvas |- |1521 |Portrait of a Gentleman in Black<ref>{{Cite web|url=http://www.lacarrara.it/en/catalogo/58mr00033/|title=Ritratto di gentiluomo in nero|website=Academia Carrara|access-date=2017-04-25|archive-date=2021-04-27|archive-url=https://web.archive.org/web/20210427235056/https://www.lacarrara.it/en/catalogo/58mr00033/|url-status=dead}}</ref> |Academia Carrara |Oil on panel |- |1527 |The Lamentation<ref>{{Cite web|url=http://www.arthermitage.org/Marco-Basaiti/Lamentation.html|title=Lamentation-Marco Basaiti|website=State Hermitage Museum|date=7 June 2021}}</ref> |The State Hermitage Museum, St. Petersburg |Oil on canvas |- |No date given on website |Head of the Virgin<ref>{{Cite web|url=http://www.ashmolean.org/ash/objects/makedetail.php?pmu=730&mu=732&gty=qsea&sec=&dtn=20&sfn=Artist%20Sort,Title&cpa=1&rpos=4&key=Marco|title=Paintings Collection: Marco Basaiti, Head of the Virgin|website=Ashmolean Museum of Art and Archaeology -University of Oxford}}</ref> |Ashmolean Museum of Art and Archaeology, University of Oxford |Oil on panel |- |No date |The Lamentation of Dead Christ<ref>{{Cite web|url=http://www.mfa.org/collections/object/the-lamentation-over-the-dead-christ-31018|title=The Lamentation of the Dead Christ|website=Museum of Fine Arts Boston}}</ref> |Museum of Fine Arts, Boston |Oil on panel |- |No date |Saint Peter Enthroned with Four Saints<ref>{{Cite web|url=http://www.wga.hu/html_m/b/basaiti/st_peter.html|title=St. Peter Enthroned and Four Saints|website=Web Gallery of Art}}</ref> |San Pietro di Castello |Oil on canvas |- |No date |Saint Sebastian<ref>{{Cite web|url=http://www.wga.hu/html_m/b/basaiti/sebastia.html|title=St. Sebastian|website=Web Gallery of Art}}</ref> |Santa Maria della Salute, Venice |Oil on canvas |- |No date |San Girolamo<ref>{{Cite web|url=http://www.archiviodellacomunicazione.it/Sicap/ENG/ArtWorks/2355/?WEB=MuseiVE|title=File 2355|website=Fondazione Musei Civici Venezia}}</ref> |Museo Correr, Venice |Oil on panel |- |No date |Dead Christ between Two Angels |Galleria dell'Accademia, Venice |Oil on panel |- |No Date |Penitent Saint Jerome |Musée des Beaux-Arts, Strasbourg<ref>{{cite web |title=Saint Jérôme pénitent |url=https://www.pop.culture.gouv.fr/notice/joconde/00190018970 |publisher=Base Joconde |access-date=12 January 2021}}</ref> |Oil on panel |} The table is ordered by date and those with a range of dates were ordered based on their earliest estimated date. Those with no determined dates were listed last.

==References== {{reflist|colwidth=30em|refs=

}}

==Sources== *{{nuttall|title=Basaiti}} {{Commons category|Marco Basaiti}}

==External links== *[http://www.artcyclopedia.com/artists/basaiti_marco.html Marco Basaiti on Artcyclopedia]

{{Authority control}}

{{DEFAULTSORT:Basaiti, Marco}} Category:1470s births Category:1530 deaths Category:15th-century Italian painters Category:Italian male painters Category:16th-century Italian painters Category:Painters from Venice Category:Italian people of Albanian descent Category:Venetian people of Greek descent Category:15th-century Greek painters Category:16th-century Greek painters