53 Color Paintings of Vittore Carpaccio - Italian Venetian School Painter (1465 - 1526)

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Adoration of the Christ Child.

Vittore Carpaccio

Crucifixion of the Ten Thousand on Mount Ararat. Mary and John the Baptist praying to the Christ child. Meditation on the Passion of Christ. Portrait of a Knight. Salvator Mundi. Enthroned Madonna and St. John the Baptist.

GUIDO BORELLI (1952 ) ITALIAN PAINTER (A C )

Two ladies. Cycle " Albanesi " Scene: birth of Mary. Head Study. Man and lion. Portrait of a man. Two young men. Two male figures. Two Turkish women. The Departure of He is best known for a cycle of nine paintings, The Legend of Saint Ursula. His style was somewhat conservative, showing little influence from the Humanist trends that transformed Italian Renaissance painting during his lifetime. He was influenced by the style of Antonello da Messina and Early Netherlandish art. For this reason, and also because so much of his best work remains in Venice, his art has been rather neglected by comparison with other Venetian contemporaries, such as Giovanni Bellini or Giorgione.

Carpaccio, or Scarpazza, as the name was originally rendered, came from a family originally from Mazzorbo, an island in the diocese of Torcello.

Vittore Carpaccio

Documents trace the family back to at least the 13th century, and its members were diffuse and established throughout Venice. He is first mentioned in in a will of his uncle Fra Ilario. Upon entering the Humanist circles of Venice, he changed his family name to Carpaccio. He was a pupil not, as sometimes thought, the master of Lazzaro Bastiani, who, like the Bellini and Vivarini, was the head of a large atelier in Venice. In Carpaccio began the famous Legend of St.

Giovanni Bellini

Ursula, for the Venetian Scuola dedicated to that saint. The subject of the works, which are now in the Gallerie dell'Accademia, was drawn from the Golden Legend of Jacopo da Varagine. In he completed the Glory of St. Ursula altarpiece. Indeed many of Carpaccio's major works were of this type: large scale detachable wall-paintings for the halls of Venetian scuole, which were charitable and social confraternities. Augustine in His Study Carpaccio. In the opening decade of the sixteenth century, Carpaccio embarked on the works that have since awarded him the distinction as the foremost orientalist painter of his age.

Unlike the slightly old-fashioned use of a continuous narrative sequence found in the St. Ursula series, wherein the main characters appear multiple times within each canvas, each work in the Schiavoni series concentrates on a single episode in the lives of the Dalmatian's three patron Saints: St. Jerome, St. George and St. These works are thought of as "orientalist" because they offer evidence of a new fascination with the Levant: a distinctly middle-eastern looking landscape takes an increasing role in the images as the backdrop to the religious scenes.

Moreover, several of the scenes deal directly with cross-cultural issues, such as translation and conversion. Portrait of a Woman c. For example, St. Jerome, translated the Greek Bible to Latin known as the Vulgate in the fourth century. Then the St. George story addressed the theme of conversion and the supremacy of Christianity. According to the Golden Legend, George, a Christian knight, rescues a Libyan princess who has been offered in sacrifice to a dragon.

Table of contents

Horrified that her pagan family would do such a thing, George brings the dragon back to her town and compels them into being baptized. George tale was enormously popular during the renaissance, and the confrontation between the knight and the dragon was painted by numerous artists. Carpaccio's depiction of the event thus has a long history; less common is his rendition of the baptism moment. Although unusual in the history of St. George pictures, St. Table of Contents.


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The field of Venetian studies has experienced a significant expansion in recent years, and the Companion to Venetian History, provides a single volume overview of the most recent developments. It is organized thematically and covers a range of topics including political culture, economy, religion, gender, art, literature, music, and the environment.

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Mendicants and Merchants in the Medieval Mediterranean , edited by Taryn Chubb and Emily Kelley, is an interdisciplinary study of the intricate connections that developed between the two groups, focusing specifically on three examples of mendicant-merchant interaction in Barcelona, Mallorca and Florence. The studies in this volume demonstrate the complexities of commercial and religious trade and exchange in the region and they reveal the extent to which the friars and merchants came to depend upon one another.

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