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96-574: Though a long decline in the political and economic power of the Republic began before 1500, Venice at that date remained "the richest, most powerful, and most populous Italian city" and controlled significant territories on the mainland, known as the terraferma , which included several small cities who contributed artists to the Venetian school, in particular Padua , Brescia and Verona . The Republic's territories also included Istria , Dalmatia and

192-622: A Sacra Conversatione painting in the then-Venetian town of Capo d'Istria (now Koper in Slovenia ), which is hanging in its Cathedral of the Assumption . Carpaccio created several more works in Capo d'Istria, where he spent the last years of his life and also died. In 1490, Carpaccio began The Legend of Saint Ursula, a series of paintings executed for the Scuola di Sant'Orsola depicting

288-439: A "...magic mirror which flashes back instantly whatever it sees beautifully arranged   ..." The nineteenth-century Italian painter Pompeo Marino Molmenti held a similarly high view, regarding Carpaccio as "...the most truthful chronicler of a people living in the full meridian of their glory." In the twentieth century, increased recognition of Carpaccio's works culminated in the 1963 retrospective exhibition that took place in

384-446: A bolder look. Carpaccio was observed to have played with the vanishing point in his works. For example, in St. Jerome In His Study , the vanishing point is to the right of the center. While he did still employ the traditional use of having the vanishing point be in the center, at times Carpaccio added a second vanishing point. In The Death of St. Jerome (1502), a second vanishing point

480-400: A conservative group, led by Zarlino who was then maestro di cappella . Members of the conservative branch tended to follow the style of Franco-Flemish polyphony, and included Cipriano de Rore , Zarlino, and Claudio Merulo ; members of the progressive group included Donato, Giovanni Croce , and later Andrea and Giovanni Gabrieli . An additional point of contention between the two groups

576-701: A few distinguished families, such as the della Rovere of Urbino . While assessments among historians and scholars vary, many identify Carpaccio as one of the most significant contemporaries of Giovanni Bellini. Despite residing in the shadows of his mentors, he received recognition from contemporary scholars, writers, and critics. In his accounts on perspective, the Italian diplomat and architect, Daniele Barbaro , referenced Carpaccio's works. Similarly, in Giorgio Vasari 's 1568 series Le vite de' più eccellenti pittori, scultori e architettori ( The Lives of

672-401: A foundation of civil concord." The stability of Venice was escalated through the system of guilds . Dennis Romano wrote in his book, Patricians and Popolani: "Nowhere in Venetian society was the emphasis on community and solidarity more pronounced than in the guilds." By the mid-fourteenth century, Venice had founded more than fifty guilds that helped to achieve cooperation from both members of

768-402: A gathering of a confraternity . Carpaccio also influenced the glassware industry of sixteenth-century Murano . For instance, collections of milk-glass tumblers, especially those depicting brides to celebrate engagements, drew heavily from his painting Two Venetian Ladies ( c.  1490 ) . Carpaccio received modest acclaim during his lifetime, only occasionally creating works for

864-539: A huge influence across Europe. Vincenzo Scamozzi's main book L’Idea dell’Architettura Universale was published in 1615, and essentially looks back to Palladio; it was influential in spreading Palladianism. In music history, the "Venetian School" was the body and work of composers working in Venice from about 1550 to around 1610, many working in the Venetian polychoral style . The Venetian polychoral compositions of

960-660: A member of a small furrier merchant family to being a prominent artist in Italy, with some scholars comparing his stature to Gentile Bellini. Unlike Bellini, Carpaccio worked mostly in what has been described as a more conservative-style of painting, a contrast to the growing humanist tendencies that were a prominent influence on other painters in Italy during his lifetime. His depiction of Venetian architecture and everyday life has greatly contributed to modern historians' conception of fifteenth-century Venetian culture. Most of Carpaccio's works have been relocated and are now displayed in

1056-756: A more modest community of provincial patrons. Between 1511 and 1520 he finished five pictures on the Life of St. Stephen for the Scuola di Santo Stefano. One of those paintings, The Ordination of Saint Stephen (1511), an oil on canvas, is located today in the Gemäldegalerie, Berlin . Carpaccio's Saint George and the Dragon (1516) , an oil on canvas painting located in the Abbazia di San Giorgio Maggiore, Benedicti Claustra Onlus, (Venice), positions St. George as

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1152-623: A number of palaces that are very original, and take Venetian architecture into Mannerism . His work in Verona represents a group of buildings defining the city in a way comparable to Palladio 's in Vicenza. The Palazzo Bevilacqua in Verona (begun 1529) is the most famous of these. The principal architect of the later Venetian Renaissance, was Andrea Palladio (1508–1580), who was also the key figure in later Italian Renaissance architecture, and its most important writer on architecture. But apart from

1248-641: A particular span of years. In a will from 1472, his uncle Fra Ilario listed him as an inheritor. According to Venetian customs, this would have indicated that he was at least 15 at this time, suggesting a birth year before 1457. However, a closer examination of Venetian law by scholars led to the discovery that children could be regarded as future heirs, thus Carpaccio's birth year range was raised to c.  1460 to 1465. Another document revealed that Carpaccio continued to live with his father through 1486, signifying late adolescence by this time and confirming this later range of birth years. Peter Humfrey presents

1344-685: A pious nation for the lack of association with paganism in the past and claims that the city was founded on the Day of the Annunciation . Therefore, Venetians used pompous and intricate architectural designs to display the city's "pure, legitimate and undefiled" Christianity. The art during the Renaissance period of Venice continued to draw heavy influence from the styles of the Byzantine Empire . Mauro Codussi (1440–1504) from Lombardy

1440-562: A smaller scale. However, he experienced less success upon the rise of younger artists, such as Titian , Giorgione , and Lorenzo Lotto , whose innovative styles challenged his conservative values. Nonetheless, he designed various altarpieces for Venetian churches, including St. Thomas Aquinas Enthroned (1507), Presentation of Christ in the Temple (1510), and Martyrdom of the Ten Thousand (1515), while he also continued to paint for

1536-404: A space and between the rooms of a house. On the left wall of the painting, sculptures, Etruscan vases, and a Mamluk metalwork candlestick are displayed on a shelf, referencing objects that were highly sought after during that time and valued in Renaissance art collecting. Carpaccio completed additional narrative cycles and expanded his oeuvre. Between 1502 and 1504, he portrayed episodes from

1632-408: A town teeming with people, while simultaneously flaunting splendor by including marbles, expensive fabrics, and architecture inspired by the eastern Mediterranean. In the opening decade of the sixteenth century, Carpaccio embarked on works that scholars have argued made him one of the foremost orientalist painters of his age. From 1502 to 1507 Carpaccio executed another notable cycle of panels for

1728-462: Is a painter's guild which is the oldest known guild dating back to 1271. This groups are not exclusive to painters but also includes gilders, textiles designers, embroiderers , gold -tooled leather artisans, playing-card makers, mask makers, and sign painters. The stratification of the guilds was divided into master craftsmen and workers or apprentices. The masters were in charge of production processes whilst depending on their competency and skills,

1824-477: Is considered his "undoubted masterpiece", and a key work in Venetian Renaissance architecture. Palladio, who saw it being built, called it "probably the richest ever built from the days of ancients up to now", and it has been described by Frederick Hartt as "surely one of the most satisfying structures in Italian architectural history". It has an extremely prominent site, with the long facade facing

1920-707: Is evident in The Meditation on the Passion , as Christ's body sits on a throne with pseudo-Hebrew inscriptions. In the background sit leafless trees, crumbling buildings, and a dry, desert ground—all alluding to the theme of death. During the same year, 1510, Carpaccio painted Young Knight in a Landscape , now located in the Thyssen-Bornemisza Collection of Madrid . In the early 1510s, Carpaccio began to experiment with other formats, particularly altarpieces and other devotional works on

2016-412: Is the tempera on canvas by Vittore Carpaccio , Lion of Saint Mark, 1516. The powerful image of the lion portrayed with the divine marks of the halo and wings, points to an open book with the inscriptions "Peace unto you Mark, my evangelist" explicitly stating its protection and blessing over the city. The delineation of the lion’s front paws above land whilst the rear paws stand above the sea alludes to

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2112-843: The Salvator Mundi with Four Saints ( c.  1489  – c.  1490 ) owned by the Fondazione Luciano Sorlini in Carzago di Calvagese (in Brescia). The Virgin and Child reflects the influence of works from the Bellini workshop ( Giovanni Bellini and Giovanni Bellini ) – especially the Virgin's hands and headdress, along with the figure of the Christ Child. Carpaccio may have also been influenced by

2208-623: The Doge's Palace . Like many other major works, the cycle was entirely lost in the fire of 1577. Shortly after the year 1502, Vittore Carpaccio's St. Augustine in His Study was painted and signed with the inscription: VICTOR / CARPATHIVS / FINGEBAT. The artist situates the saint in an idealized interior domestic space, alluding to contemporary practices in the art of collecting during the Renaissance period. This painting showcases how objects associated with collecting are meant to spill out within

2304-550: The Dream of St. Ursula (1490), Carpaccio paints the story of heavenly love where St. Ursula is visited by an angel in her dream informing her that she will die and become a martyr of Christ. By 1495, in the Departure of St. Ursula , the largest canvas of the series, his treatment of color, geometric perspective, and figural composition would reflect his careful study and mastery over Venetian narrative art form. The piece illustrates

2400-597: The Fondaco dei Tedeschi , a trading post for German merchants. Carpaccio appears to have been influenced by Cima da Conegliano , as evidenced in the Death of the Virgin from 1508, at Ferrara. In 1510, Carpaccio executed the panels of Lamentation on the Dead Christ and The Meditation on the Passion , where the sense of sorrow found in such works by Mantegna is backed by extensive use of symbolism. The theme of death

2496-597: The Gallerie dell'Accademia in Venice. Only one complete collection of paintings remains intact, which can be found along the walls of the Scuola di San Giorgio degli Schiavoni. Later artists produced various works in the aftermath of Carpaccio's death and were inspired by his oeuvre. For instance, Paris Bordone 's The Presentation of the Ring (1534), an oil painting, echoed Carpaccio's broad compositions, accurate representation of textiles and fabrics, and representation of

2592-715: The Humanist trends that transformed Italian Renaissance painting during his lifetime. Scholarship in English dedicated to his biography and works remains meager when compared with the scholarship about his Venetian contemporaries, such as Giovanni Bellini or Giorgione . Carpaccio was born in Venice (between 1460 and 1465), the son of Pietro Scarpaza, a Venetian furrier in the parish of Arcangelo Raffaele. Although Carpaccio's precise date of birth remains unknown, various documents have offered clues in order to narrow it down to

2688-530: The Kingdom of Italy in 1866, as a result of the Third Italian War of Independence . Vittore Carpaccio Vittore Carpaccio ( UK : /kɑːrˈpætʃ(i)oʊ/ , US : /-ˈpɑːtʃ-/ , Italian: [vitˈtoːre karˈpattʃo] ; (born between 1460 and 1465; died c.  1525 ) was an Italian painter of the Venetian school who studied under Gentile Bellini . Carpaccio was largely influenced by the style of

2784-512: The Lion of Saint Mark is the oldest and most universal symbol of the Republic. The Lion is the figure which welcomes outsiders into the city, as it stands on the summit of the column on the Piazzetta , along with other public structures such as the city gates and palaces. Depictions of lions in paintings represented the significance of the saint as the patron of the city of Venice. An example

2880-640: The Museo Correr (Fondazione Musei Civici di Venezia) and then as VETOR SCARPAZO on the parapet in his Salvator Mundi with Four Saints ( c.  1490 ) owned by the Fondazione Luciano Sorlini in Carzago di Calvagese (in Brescia). By 1490, with the painting Arrival in Cologne (part of the Life of Saint Ursula cycle; see below), he began to use variants of the Latin Carpatius and Carpathius. It

2976-775: The Procurators of San Marco . Before long he found a style that satisfied Venetian patrons and was "definitive for the entire subsequent history of Venetian architecture". He created the appearance of much of the area around the Piazza San Marco beyond Basilica of San Marco itself, designing the Biblioteca Marciana (1537 onwards) and mint or "Zecca" on the Piazzetta di San Marco . His palazzi include Palazzo Corner della Ca' Grande (1532 onwards) and Palazzo Dolfin Manin from 1536. The Biblioteca Marciana

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3072-520: The Renaissance was constructed on the emphasis on the relationships between neighbours, ritual brothers and kinsmen all living together in equality from the upper and lower social class . Many scholars believe that the stability, prosperity and political security was significantly due to their notion of working together and communal action. Petrarch , in the mid-fourteenth century, described Venice as "solidly built on marble but standing more solid on

3168-579: The Scuola di San Giorgio degli Schiavoni which served one of Venice's immigrant communities ( Schiavoni meaning "Slavs" in the Venetian dialect). Unlike the 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 cycle concentrates on a single episode in the lives of Dalmatia 's three patron saints: St. Jerome , St. George and St. Trifon. In

3264-508: The Venetian nobility . While regular employment was scarce, he primarily served a variety of working-class patrons that consisted of sailors, artisans, and tradesmen belonging to the scuole of the Albanesi and Schiavoni . He was also commissioned to create mainland works for Bergamo 's parish church of Grumello de' Zanchi and a scuole in Udine . Outside of Venice, he received support from

3360-707: The Visconti at Milan . In 1420, Venice annexed the Friulian territories of the Imperial Patriarchate of Aquileia from the Adriatic coast up to Pontebba in the Julian Alps. Emperor Sigismund had to acknowledge the acquisition in 1433; four years later he officially ceded the territory to Venice as an Imperial fief. In 1523 Emperor Charles V finally renounced all titles as feudal lord. On

3456-635: The fall of the Republic and the Treaty of Campo Formio , the Domini spent a short while under French rule until Napoleon ceded it to Austria in 1797, and in 1805 the former Domini were united with the Napoleonic Kingdom of Italy (1805–14), and in 1815 with what was left of Lombardy to make the Kingdom of Lombardy–Venetia under the control of the Austrian Empire . It was united with

3552-538: The tracery of Venetian Gothic architecture , remained far more heavily used than in other cities. The Doge's Palace was much rebuilt after fires, but mostly behind the Gothic facades. The Venetian elite had a collective belief in the importance of architecture in bolstering confidence in the Republic , and a Senate resolution in 1535 noted that it was "the most beautiful and illustrious city which at present exists in

3648-461: The 2022 catalogue raisonné, Humfrey presents the different arguments for why Carpaccio possibly apprenticed in the Venetian studio of the Bellini family, developing his artistry under the guidance of Gentile Bellini and/or Giovanni Bellini . Carpaccio's earliest known solo works are a Virgin and Child ( c.  1488 or 1489) at the Museo Correr (Fondazione Musei Civici di Venezia) and

3744-713: The American colonies, and his Venetian window , with a central arched top, took a very Venetian element around the world. The World Heritage Site of the City of Vicenza and the Palladian Villas of the Veneto includes 23 buildings in the city, and 24 country villas. Vincenzo Scamozzi (1548–1616) from Vicenza only moved to Venice in 1581, the year after Palladio's death. He designed the Procuratie Nuove on

3840-479: The Byzantine style persisted even in the painting faction until around 1400 before the dominant style began to shift towards International Gothic and Italian Renaissance first brought into Venice by Paduan Guariento di Arpo , Gentile da Fabriano and Pisanello when they were commissioned to ornament the frescoes of the Doge's Palace . The symbol of Venice is known to be the Virgin or the goddess Venus , but

3936-721: The Doge's Palace in Venice. According to several scholars it was this exhibition in Venice that in turn inspired a local chef, Giuseppe Cipriani (founder of Harry's Bar in Venice), to name a dish (thinly sliced raw beef) after the painter and his use of vibrant reds. The first ever retrospective of his art outside of Italy, Vittore Carpaccio: Master Storyteller of Renaissance Venice was exhibited at Washington, D.C.'s National Gallery of Art , November 20, 2022 – February 12, 2023, with an accompanying exhibition catalog, Vittore Carpaccio: Paintings and Drawings . A comprehensive publication with

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4032-505: The Doge's Palace across the Piazzetta di San Marco , and the shorter sides facing the lagoon and the Piazza San Marco. Michele Sanmicheli (1484–1559) from Verona in the terraferma , trained further south, and on his return to Verona in 1527 was hired by the state as a military architect. Most of his work was fortifications and military or naval buildings around the Venetian territories, especially in Verona, but he also built

4128-547: The English-speaking world. Art and architecture were utilised as a powerful method to display the grandeur of the city of Venice. Architectures and structures such as St Mark's Basilica , Piazza San Marco and the Doge's Palace to name a few were "a visible expression of the idea of Venice." Venice was able to prolong its state of freedom for more than a thousand years and established a standing superior to that of Rome. The citizens of Venice believed themselves to be

4224-578: The European construction of the exotic. In The Baptism scene , one of the recent converts has placed his elaborate red-and-white, jewel-tipped turban on the ground in order to receive the sacrament . Fortini Brown argues that this increased interest in exotic eastern subject matter was a result of worsening relations between Venice and the Ottoman Turks : "as it became more of a threat, it also became more of an obsession." In 1516, he painted

4320-526: The Germans upon their arrival in Cologne after coming from the island of Britain. Carpaccio was greatly inspired by the legend, especially its themes of massacre and chronology that brought the story to life. The cycle of paintings expresses a fantastical tone that is reminiscent of Giovanni Bellini and Gentile Bellini . It would take Carpaccio about seven years to complete all nine paintings and over

4416-549: The Most Excellent Painters, Sculptors, and Architects ), Carpaccio appeared at the forefront of a list of Venetian painters. This decision distinguished his artistic reputation from other painters in northern Italy. Interest in Carpaccio resurged in the nineteenth century as English writer and art critic John Ruskin celebrated the Venetian painter's attention to detail. Ruskin likened Carpaccio's works to

4512-462: The Piazza San Marco, and completed many projects Palladio had left incomplete. His pupil Baldassare Longhena (1598–1682), who was for a change born in the city, in turn completed Scamozzi's projects and, while he introduced a full-blown Baroque architecture to Venice, many buildings, especially palaces, continued to develop a Baroque form of the Venetian Renaissance style. Venice was a major European centre for all book printing publishing, and became

4608-519: The Ponte di Rialto . This work offers some of the best impressions of Venice at the height of its power and wealth, illustrating the strong sense of civic pride among its citizens. In other paintings he demonstrates a sense of fantasy that seems to look back to medieval romance, rather than sharing in the pastoral vision of the next generation. By about 1510 Carpaccio's style was perceived by contemporaries as too conservative, showing little influence from

4704-457: The Scuola di Sant'Orsola, one of the religious confraternities in Venice (see below "Narrative Cycles" for more on this series). This series elevated his prominence in early Renaissance Venice, allowing him to distinguish himself as a capable, creative painter skilled in artistic narration and lighting. Around 1501–1507, he worked with Giovanni Bellini, painting in the Sala del Gran Consiglio in

4800-433: The Temple (1510) was commissioned by the church of San Giobbe, and Martyrdom of the Ten Thousand (1515) by the church of San Giorgio Maggiore. After 1510, he painted for patrons in his province, sending his altarpieces to patrons in cities across the country. It has been argued that his altarpieces were not his best works, as they appeared unnatural and lacked fluidity when compared to the most influential altarpieces of

4896-560: The Temple (1510), and Martyrdom of the Ten Thousand (1515), were commissioned by churches in Venice, while the pieces following the year 1510 were primarily commissioned by individual patrons in Venice. One of his largest pictorial series, The Legend of Saint Ursula , was begun in 1490. He is perhaps known best for his large urban scenes, such as the Miracle of the Relic of the Cross at

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4992-406: The Venetian dialect) came from a family originally from Mazzorbo , an island in the diocese of Torcello . Archival documents trace the family back to at least the thirteenth century, and its members were diffused and established throughout Venice. Carpaccio signed two early works with the Venetian form of his last name: first as VETOR[E] SCHARPAÇO in his Virgin and Child ( c.  1488 ) at

5088-776: The Virgin for Scuola degli Albanesi dates to 1504–1508 and was largely executed by Carpaccio's assistants. The images are now divided among the Accademia Carrara of Bergamo , the Pinacoteca di Brera in Milan , and the Ca' d'Oro in Venice. In 1491, Carpaccio completed the Glory of St. Ursula altarpiece , a large scale detachable wall-painting painted for the hall of one of the Venetian scuole , which were charitable and social confraternities. Three years later he took part in

5184-403: The accession of Doge Michele Steno in 1400, who systematically campaigned in the Venetian hinterland in order to secure trade and sustenance for the citizens of Venice. His successors Tommaso Mocenigo and Francesco Foscari enlarged the possessions to the disadvantage not only of the Scaligeri, but also of the Carraresi at Padua (Lord Francesco Novello da Carrara was executed in 1406) and

5280-490: The assistance of his sons Pietro and Benedetto, his principal pupils. However, he independently completed his final work, which consisted of decorating organ shutters for the Duomo at Capo d'Istria in 1523. Carpaccio's late works were mostly done in the Venetian mainland territories, and in collaboration with his sons Benedetto and Piero. One of his pupils was Marco Marziale . He spent his final years in this Slovenian town, where he died between 1525 and 1526. Carpaccio

5376-445: The city as an architect, but left little mark. These were also heavily illustrated and became essential reading, and quickly copied and translated around Europe. The patrician humanist, clergyman and Venetian diplomat Daniele Barbaro was a patron of Palladio ( Villa Barbaro ), and Palladio illustrated his Italian translation of Vitruvius (1556). Palladio's own I quattro libri dell'architettura (1570), illustrated by himself, again had

5472-434: The course of the seven years his artistic style would mature. Carpaccio's use of perspective, depth, and dimension were key points of improvement throughout his series, as observed by various art historians. One of the most notable paintings in The Legend of Saint Ursula series is the Arrival of St. Ursula at Cologne (1490), which recalls the work of Jacopo Bellini in its elemental treatment of light and atmosphere. In

5568-480: The decoration of the Scuola Grande di San Giovanni Evangelista , painting the Miracle of the Relic of the Cross at the Ponte di Rialto (1496). Other altarpieces that Carpaccio created, like St. Thomas Aquinas Enthroned (1507) , Presentation of Christ in the Temple (1510) , and Martyrdom of the Ten Thousand (1515), were commissioned by Venice churches. The church-patron of St. Thomas Aquinas Enthroned (1507) remains unknown; however, Presentation of Christ in

5664-413: The dominance of Venice's reign over both territories as a fulfilment of Saint Mark's promise. Compared to the Renaissance architecture of other Italian cities , in Venice there was a degree of conservatism, especially in retaining the overall form of buildings, which in the city were usually replacements on a confined site, and in windows, where arched or round tops, sometimes with a classicized version of

5760-421: The dragon-slayer to symbolize the triumph of Christian values over the devil (represented as a dragon). Although uncommon in the iconographic depictions of St. George, St. George Baptizing the Selenites offers a good example of the type of oriental (eastern) subjects that were popular in Venice at the time: great care and attention is given to the foreign costumes, and hats are especially significant in indicating

5856-401: The early Italian Renaissance painter Antonello da Messina ( c.  1430–1479 ), as well as Early Netherlandish painting . Although often compared to his mentor Gentile Bellini, Vittore Carpaccio's command of perspective, precise attention to architectural detail, themes of death, and use of bold color differentiated him from other Italian Renaissance artists. Many of his works display

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5952-410: The eastern parts of Lombardy (i.e. the present-day Bergamo and Brescia provinces) up to the Adda River, where it bordered on the Imperial Duchy of Milan . In the south the lower Po River ( Polesine ) formed the border with the Papal States . The Terraferma comprised the western and central parts of the historic Friuli region, except for the easternmost part along the Isonzo River, which

6048-433: The first to include dynamics , and are among the first to include specific instructions for ensemble instrumentation . Organists working at the same time included Claudio Merulo and Girolamo Diruta ; they began to define an instrumental style and technique which moved to northern Europe in the succeeding generations, culminating in the works of Sweelinck , Buxtehude , and eventually J.S. Bach . The Venetian community in

6144-444: The government and the guild. The government was shrewd to practice fair justice equally to all social levels, which prevented riots or political protests. Depending on the artisan 's trade and specialty, individuals joined the corresponding guild group upon a pledge of allegiance to the doge . There were many types of guilds such as the stonemasons , woodcarvers , glassmakers , furriers and wool industries. "Arte dei depentori"

6240-527: The islands now off the Croatian coast, who also contributed. Indeed, "the major Venetian painters of the sixteenth century were rarely natives of the city" itself, and some mostly worked in the Republic's other territories, or further afield. Much the same is true of the Venetian architects. Though by no means an important centre of Renaissance humanism , Venice was the undoubted centre of book publishing in Italy, and very important in that respect; Venetian editions were distributed across Europe. Aldus Manutius

6336-400: The late sixteenth century were among the most famous musical works in Europe, and their influence on musical practice in other countries was enormous. The innovations introduced by the Venetian school, along with the contemporary development of monody and opera in Florence , together define the end of the musical Renaissance and the beginning of the musical Baroque . As in other media,

6432-434: The life of the confraternity 's patron saint. The Scuola di Sant'Orsola was a well-established confraternity where many individuals across the social spectrum would come together and engage in civic-oriented work. This cycle has led scholars to describe him as a "master visual storyteller," since the large-scale paintings were installed in large open spaces, like a reception or audience hall, allowing spectators to take in

6528-460: The lives of Saint Jerome and the Virgin Mary . The legend of Saint George is referenced in his painting, St. George Baptizing the Selenites (1507) . According to the Golden Legend , George, a Christian knight, rescues a Libyan princess who has been offered in sacrifice to a dragon . Horrified that her pagan family would do such a thing, George brings the dragon back to her town and compels them to be baptized . The legend of St. George

6624-610: The major centre for architectural publishing. Vitruvius is the only significant classical writer on architecture to survive, and his work De architectura was keenly studied by all Renaissance architects. Although the Latin text had been printed before, the first edition illustrated with woodcuts was produced by Fra Giovanni Giocondo in Venice in 1511; he had designed the Fondaco dei Tedeschi in 1505–08. The "Seven Books" or Tutte l'opere d'architettura et prospetiva of Sebastiano Serlio (1475–1554) were also published in Venice, in several volumes from 1537 onwards. He had worked in

6720-485: The painting, Jerome Leading the Lion into the Monastery (1509), introduces a humorous, intimate mood. These works are thought of as "orientalist" because they offer evidence of a 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. The painting cycle of Life of

6816-420: The position until his death in 1562. Gioseffo Zarlino , one of the most influential writers on music of the age, called Willaert "the new Pythagoras ," and Willaert's influence was profound, not only as a composer but as a teacher, since most of the Venetians who followed studied with him. In the 1560s, two distinct groups developed within the Venetian school: a progressive group, led by Baldassare Donato , and

6912-441: The religious themes and cross-cultural elements of art at the time; his portrayal of St. Augustine in His Study from 1502, reflects the popularity of collecting "exotic" and highly desired objects from different cultures. Carpaccio's works ranged from single pieces painted on canvas to altarpieces and large pictorial cycles. Several of the altarpieces, including St. Thomas Aquinas Enthroned (1507), Presentation of Christ in

7008-582: The rich patronage available in Venice drew composers from elsewhere in Italy, and beyond, to work in the city. Venice was also the European leader in publishing the new form of printed music scores. Several major factors came together to create the Venetian School. The first was political: after the death of Pope Leo X in 1521 and the Sack of Rome in 1527, the long dominant musical establishment in Rome

7104-546: The scenes, similar to animation storyboards. The subject of Carpaccio's paintings, which are housed in the Gallerie dell'Accademia , was drawn from the Golden Legend of Jacopo da Varagine . The legend revolves around St. Ursula and her companions in Cologne where tradition relates that in the year 385, a legion of eleven thousand virgins professing their faith to Christ , with Ursula at their head and twenty thousand Christians by their side, would be massacred by

7200-625: The time. Towards the end of his life, the quality of his art began to decline, specifically following his Schiavoni pieces. The change in quality was remarked upon by the artistic community then and now. By contrast, the Italian Renaissance painter Giorgione made innovations in the field that Carpaccio was simply unable to match. The expectations and artistic demands had changed, resulting in Carpaccio's style seeming outmoded in comparison. He never altered his style to keep up with these new innovations. Carpaccio increasingly turned to

7296-552: The tradition of the Venetian school contrasted with the Mannerism prevalent in the rest of Italy. The Venetian style exerted great influence upon the subsequent development of Western painting . The harmonious concord and stability, and tight government control, of Venice was reflected in its paintings. Venice was widely known and revered for retaining the reputation of "unsullied liberty, unwavering religiosity, social harmony and unfailing peaceful intentions." The Republic of Venice

7392-531: The two large churches of San Giorgio Maggiore (1566 on), and Il Redentore (1577 on), he designed relatively little in the city itself, for a number of reasons. He designed many villas in the Veneto , in Vicenza and a series of famous country houses, relatively small compared to some further south, for the Venetian elite. Palladio's style was later developed in the Palladian architecture of both Britain and

7488-411: The various bits of evidence that scholars have used in order to determine Carpaccio's birth years, as well as the dates of his earliest works, and in turn in which workshop he trained in Venice. Ultimately, the most recent research argues for a birth date between 1460 and 1465; he died around 1525 or 1526. Carpaccio (or Scarpaza, Scarpazza or Scarpanza or Scarpanzo, as the name was variously recorded in

7584-720: The workers contributed to production of goods or took on trivial chores such as sweeping the floor or grinding pigments. The functions of the guilds were both political and cultural, contributing their talents during special celebrations and ceremonies. On special events such as the Feast of Saint Mark , members of each guild participated in these events for trading of expensive items such as paintings, furniture, carpets, objects of glass, gold, and textiles. Domini di Terraferma The Domini di Terraferma ( Venetian : domini de terraferma or stato da tera , lit.   ' mainland domains ' or ' mainland state ' )

7680-617: The works of Lazzaro Bastiani and Alvise Vivarini , Venetian painters of an older generation. The black backdrop of the Salvator Mundi (Savior of the World) was likely influenced by Antonello da Messina 's Salvator Mundi (1475-76). Furthermore, Antonello's use of rounded forms and volumes, along with the three-quarter views of the four surrounding saints likely influenced the aspiring, although immature, style of Carpaccio. Carpaccio's Madonna and Child with Two Saints ( c.1485-1510)

7776-550: The world". At the same time, overt competition between patrician families was discouraged, in favour of "harmonious equality", which applied to buildings as to other areas, and novelty for its own sake, or to recapture the glories of antiquity, was regarded with suspicion. Though visitors admired the rich ensembles, Venetian architecture did not have much influence beyond the republic's own possessions before Andrea Palladio (1508–1580), whose style of Palladian architecture became hugely influential some time after his death, not least in

7872-491: Was active from at least 1505. San Sebastiano, Venice , begun 1506, is an early work. Both of these had many government commissions. Jacopo Sansovino (1486–1570), also an important sculptor, was a Florentine with a successful career in Florence and then Rome. He fled to Venice after the catastrophic Sack of Rome in 1527 and in 1529 was appointed chief architect and superintendent of properties ( Protomaestro or Proto ) to

7968-523: Was destroyed during World War II. It was stored in a flak tower in Berlin for safe keeping, but in May 1945, the tower was set on fire and most of the objects inside were destroyed. Carpaccio's principal works were executed between 1490 and 1519, placing him among the early masters of Venetian painting in the Renaissance. By 1490, Carpaccio painted The Legend of Saint Ursula , a series of paintings for

8064-421: Was eclipsed: many musicians either moved elsewhere or chose not to go to Rome, and Venice was one of several places to have an environment conducive to creativity. Another factor, possibly the most important, was the existence of the splendid Basilica San Marco di Venezia (commonly known as St. Mark's), with its unique interior with opposing choir lofts. Because of the spacious architecture of this basilica, it

8160-471: Was enormously popular during the Renaissance, and the confrontation between the knight and the dragon was painted later by numerous artists, such as Albrecht Altdorfer's St. George and the Dragon (1510). From 1507 to 1508, Carpaccio executed the work, St. Tryphonius Exorcizing the Demon . In 1508, he joined a committee established to assess the frescoes painted by Giorgione , which had been commissioned by

8256-809: Was held by the Imperial counts of Gorizia . In the north, the Carnic and Julian Alps marked the border with the Inner Austrian duchies of Carinthia and Carniola . Venice had conquered the Mestre mainland from the Scaliger rulers at Verona in 1337 during the Scaliger War , followed by Treviso and Bassano del Grappa in 1339. The development of the Terraferma province actually began with

8352-443: Was included below the primary one on the body of the saint. The effect was that the primary vanishing point broadcast imagery away from the observer, while the vanishing point below brought the imagery towards the observer. Carpaccio paid special attention to architecture, depicting buildings precisely and accurately to ensure that his paintings reflected the new architectural elements in Venice . Carpaccio transformed from being

8448-471: Was necessary to develop a musical style which exploited the sound-delay to advantage, rather than fought against it: thus the Venetian polychoral style was developed, the grand antiphonal style in which groups of singers and instruments played sometimes in opposition, and sometimes together, united by the sound of the organ. The first composer to make this effect famous was Adrian Willaert , who became maestro di cappella of St. Mark's in 1527, and remained in

8544-504: Was not until a 1648 publication that one of his biographers, Carlo Ridolifu, referred to the artist as "Carpaccio" the name for which he is known today. Early twentieth-century scholars Molmento and Ludwig argued that Carpaccio's first teacher Lazzaro Bastiani , who, like the Bellini brothers and Vivarini , was the head of a large atelier in Venice. In the end, scarce details remain about his early life, leaving scholars to piece together his early artistic training and formation. In

8640-474: Was often the first major Italian city visited, always had a great appreciation for it and, after Venice itself, the best collections are now in the large European museums rather than other Italian cities. At the top, princely, level, Venetian artists tended to be the most sought-after for commissions abroad, from Titian onwards, and in the 18th century most of the best painters spent significant periods abroad, generally with great success. The traditional methods of

8736-511: Was one of the first architects to work in a Renaissance style in Venice, with his son Domenico assisting him and carrying on his practice after his death. His work respects and alludes to many elements of the Venetian Gothic, and harmonizes well with it. Other architects active in the early Renaissance period include Giorgio Spavento (active from 1489 or before, d. 1509), and Antonio Abbondi , often known as Scarpagnino (died 1549), who

8832-457: Was one of the first artists to include a cartellino into his paintings; he inserted it into select pieces in a way that made it appear as if the artist had left it there without thought. In comparison to his mentor Giovanni Bellini , Carpaccio's works are overall less defined. Considered untraditional at the time, Carpaccio painted his altarpieces on canvas rather than on wood panel. In addition, he carried out thin priming, which resulted in

8928-582: Was the hinterland territories of the Republic of Venice beyond the Adriatic coast in Northeast Italy . They were one of the three subdivisions of the Republic's possessions, the other two being the original Dogado (Duchy) and the Stato da Màr (maritime territories). At its greatest extent, it included the present-day Italian regions of Veneto , Western and Central Friuli-Venezia Giulia and

9024-532: Was the leading city to uphold the utilisation of artistic patronage as an "arm of government" in its realisation of the potential of art as a political asset. The rest of Italy tended to ignore or underestimate Venetian painting; Giorgio Vasari 's neglect of the school in the first edition of his Lives of the Most Excellent Painters, Sculptors, and Architects in 1550 was so conspicuous that he realized he needed to visit Venice for extra material in his second edition of 1568. In contrast, foreigners, for whom Venice

9120-609: Was the most important printer/publisher, but by no means the only one. Venetian painting was a major force in Italian Renaissance painting and beyond. Beginning with the work of Giovanni Bellini (c. 1430–1516) and his brother Gentile Bellini (c. 1429–1507) and their workshops, the major artists of the Venetian school included Giorgione (c. 1477–1510), Titian (c. 1489–1576), Tintoretto (1518–1594), Paolo Veronese (1528–1588) and Jacopo Bassano (1510–1592) and his sons. Considered to give primacy of colour over line,

9216-537: Was whether or not Venetians—or at least Italians—should be given the top job of maestro di cappella at St. Mark's. Eventually the group favoring local talent prevailed, ending the dominance of foreign musicians in Venice; in 1603, Giovanni Croce was appointed to the job, followed by Giulio Cesare Martinengo in 1609. The peak of development of the Venetian School was in the 1580s, when Andrea and Giovanni Gabrieli composed enormous works for multiple choirs, groups of brass and string instruments, and organ. These works are

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