page_title: Jacopo de' Barbari
section_title: Paintings
hierarchical_section_title: Jacopo de' Barbari / Work / Paintings
caption_attribution_description: English: It shows Pacioli standing behind a table and wearing the habit of a member of the Franciscan order. He draws a construction on a board, the edge of which bears the name Euclides. His left hand rests upon a page of an open book. This book may be his Summa de Arithmetica, Geometria, Proportioni et Proportionalità or a copy of Euclid. Upon the table rest the instruments of a mathematician: a sponge, a protractor, a pen, a case, a piece of chalk, and compasses. In the right corner of the table there is a dodecahedron resting upon a book bearing Pacioli's initials. An rhombicuboctahedron (a convex solid consisting of 18 squares and 8 triangles) suspends at the left of the painting. The identity of the young man at the right is uncertain, but one commentator recognizes the "eternal student" instructed by Pacioli. Some authors have also mentioned the possibility that the student is Dürer. Italiano: L'opera, pur essendo esposta nella Galleria Farnese, non fa parte della Collezione Farnese, trattandosi di un acquisto dello Stato italiano fatto nel 1903-1904. Il dipinto raffigura il frate francescano Luca Pacioli, matematico e studioso delle proporzioni, mentre svolge un problema di geometria. Accanto gli sta un giovane nobile che potrebbe essere identificato con Guidobaldo da Montefeltro. Fra i vari oggetti disposti sul tavolo, il libro aperto presenta delle lettere che si riferiscono al titolo di un'opera del Pacioli, un trattato di matematica pubblicato a Venezia nel 1494 e dedicato proprio a Guidobaldo. Sospeso ad un filo vi è infine un poliedro in vetro nel quale si riflette un edificio molto simile al Palazzo Ducale di Urbino.
context_page_description: Jacopo de' Barbari, sometimes known or referred to as de'Barbari, de Barberi, de Barbari, Barbaro, Barberino, Barbarigo or Barberigo, was an Italian painter and printmaker with a highly individual style. He moved from Venice to Germany in 1500, thus becoming the first Italian Renaissance artist of stature to work in Northern Europe. His few surviving paintings include the first known example of trompe l'oeil since antiquity. His twenty-nine engravings and three very large woodcuts were also highly influential.
context_section_description: His paintings are mostly portraits or half-length groups of religious figures. He painted a live Sparrowhawk(National Gallery, London), which is probably a fragment of a larger work. The very early still-life of a Still-Life with Partridge and Gauntlets (Alte Pinakothek, Munich) is often called the first small scale trompe l'oeil painting since antiquity; it may well have been the cover or reverse of a portrait (however, a fragmentary panel by another Venetian, Vittorio Carpaccio, has a trompe l'oeil letter-rack of about 1490 on the reverse). In the Gemäldegalerie, Berlin there is a Portrait of a German Man and a religious subject. The Louvre has a religious group, and Philadelphia a pair of figures.
  A disputed but famous work, the Portrait of Fra Luca Pacioli is in the Museo di Capodimonte in Naples. This shows the Franciscan mathematician and expert on perspective demonstrating geometry at a table on which lie his own Summa and a work by Euclid. He is accompanied by a not clearly identified student. The work is signed "IACO. BAR VIGEN/NIS 1495". Jacopo de' Barbari is attributed a Christ Blessing displayed at the Snite Museum of Art in Notre Dame University, Indiana.
caption: Painting of Luca Pacioli, attributed to Jacopo de' Barbari, 1495 (attribution controversial[8]). Table is filled with geometrical tools: slate, chalk, compass, a dodecahedron model. A rhombicuboctahedron half-filed with water is suspended from the ceiling.  Pacioli is demonstrating a theorem by Euclid.
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