他的艺术倾向是受贝利尼和Conegliano的造型学图像元素，后antolleneana公约。最著名的作品是系列是女人的肖像，牧羊人的崇拜，Madonna和圣约翰的孩子，一个年轻人的肖像，一个战士崇拜的婴儿基督和圣母，他在研究Saint Jerome、Dodge Andrea Gritti的画像，和以马忤斯的晚餐在吉奥吉奥特里西诺的肖像。他的合作与他的主人乔尔乔内是著名的连接。生动的几何才华和可塑性的绘画的艺术是非常明显的连锁，使他成为当今时代最鲜明的艺术家。他活跃在艺术圈从1510到1531。
Vincenzo de Biagio (1480-1531), also known as Vincenzo Catena belonged to the Venetian School of art, which flourished during the Renaissance. Though considered one of the most prominent painters of the Italian Renaissance, sources of his work style of art are scanty. His name has been revived from an inscription at the back of Giorgione’s painting Laura. “It is revealed that Catena belonged to a wealthy family and practiced his expertise out of interest and pleasure and passed away without the necessity of having to do so and leaving some of the best Renaissance art products of Italy during the 16th century. Ancient author Ridolfi states that Catena led a virtuous life and was kind, helpful and compassionate” (Marle 376).
His artistic tendency was inspired by iconographic elements of Bellini and Conegliano’s plasticism, post the Antolleneana convention. The most notable works ascribed to Catena are the Woman Portrait, Adoration of the shepherds, The Madonna and the Child with Infant St. John, Portrait of a Young Man, A Warrior adoring the Infant Christ and the Virgin, Saint Jerome in His Study, Portrait of the Dodge Andrea Gritti, and The Supper at Emmaus alongside the portrait of Giorgio Trissino. His collaboration and connection with his master Giorgione is notable. Vivid geometric brilliance and plasticity of painting are intensely evident in Catena’s art, making him one of the most distinctive artists of the contemporary era. He was active in the art circle from 1510 to 1531.
Gian Giorgio Trissino of the Golden Fleece (1478-1550) was a humanist, poet, diplomat, dramatist and linguist and architect of the Renaissance Italy, born into a noble family. He was largely noted for his diplomatic attributes and convention during the Renaissance reformation period. He is ascribed with the translation of Alighieri’s De vulgari eloquentia. He was an accomplice mentor to Renaissance architect Andrea Palladio.