Bordone出生在特雷维索,但搬到威尼斯年底青春期。他短暂的和不幸的是(根据历练瓦萨里提香。瓦萨里可能会遇到老Bordone。

从1520年代,我们通过Bordone工作,包括在佛罗伦萨圣家庭、骶骨与捐赠(格拉斯哥)座谈会,和神圣的圣凯瑟琳的家庭(赫米蒂奇博物馆)。圣安布罗斯和捐赠(1523)现在Pinacoteca di布雷拉。1525 - 26日Bordone画s阿戈斯蒂诺•的教堂的祭坛的装饰品克丽玛麦当娜,圣克里斯托弗和圣乔治(现在的宫殿Tadini收集在Lovere)。第二个祭坛的装饰品,五旬节,也是Pinacoteca di布雷拉。

在1534 - 35,他画他的大规模杰作的师范学校di圣马可画布渔夫向总督展示戒指Gradenigo(学院)。然而,对比这后一种绘画和混淆,和结构相似,演讲的处女^[1]揭示Bordone的局限性,他使用的优越的角度创建小巫见大巫了遥远的观点,和有限的颜色相对于提香的灿烂的容颜。

Bordone是他最好的在他的小柜,展示half-figures semi-undressed男性和女性从神话或宗教故事在肌肉交互尽管拥挤的空间。

巴黎Bordone随后执行许多重要的壁画,在威尼斯,特雷维索维琴察,所有的死亡。1538年,他被邀请到法国弗朗西斯我法院的,在他画肖像,尽管他们没有一丝法国集合中发现,两个肖像罗浮宫后来被收购。回程他也工作了依靠宫奥格斯堡,但是已经失去了工作。

Bordone was born at Treviso, but had moved to Venice by late adolescence. He apprenticed briefly and unhappily (according to Vasari) with Titian. Vasari may have met the elder Bordone.

From the 1520s, we have works by Bordone, including the Holy Family in Florence, Sacra Conversazione with Donor (Glasgow), and Holy Family with St. Catherine (Hermitage Museum). The St. Ambrose and a Donor (1523) is now in the Pinacoteca di Brera. In 1525–26, Bordone painted an altarpiece for the church of S. Agostino in Crema, a Madonna with St. Christopher and St George (now in the Palazzo Tadini collection at Lovere). A second altarpiece, Pentecost, is also in the Pinacoteca di Brera.

In 1534–35, he painted his large-scale masterpiece for the Scuola di San Marco a canvas of the The Fisherman Presenting the Ring to Doge Gradenigo (Accademia). However, comparison between this latter painting and the near-contemporary, and structurally similar, Presentation of the Virgin^[1] reveals Bordone's limitations, his use of superior perspective which creates dwarfed distant perspectives, and limited coloration relative to the brilliant tints of Titian.

Bordone is at his best^{[citation needed]} in his smaller cabinet pieces, showing half-figures, semi-undressed men and women from mythology or religious stories in a muscular interaction despite the crowded space.

Paris Bordone subsequently executed many important mural paintings in Venice, Treviso and Vicenza, all of which have perished. In 1538 he was invited to France by Francis I, at whose court he painted many portraits, though no trace of them is to be found in French collections, the two portraits at the Louvre being later acquisitions. On his return journey he also worked for the Fugger palace at Augsburg, but again the works have been lost.