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89-464: Venetian School may refer to: Venetian painting , painting in Venice from the 14th to 18th century Venetian School (music) , the body and work of composers working in Venice from c. 1550 to c. 1610 Venetian Gothic architecture Venetian Renaissance architecture See also [ edit ] Venetian (disambiguation) Topics referred to by

178-407: A " size " to isolate the canvas from the acidic qualities of the paint. Traditionally, the canvas was coated with a layer of animal glue (modern painters will use rabbit skin glue) as the size and primed with lead white paint, sometimes with added chalk. Panels were prepared with a gesso , a mixture of glue and chalk. Modern acrylic " gesso " is made of titanium dioxide with an acrylic binder. It

267-475: A "native school" of fresco painting, often relying on Padua and Verona , Venetian from 1405, to supply painters (notably Paolo Veronese ). They continued to add gold ground mosaics to San Marco long after the rest of Europe had abandoned the medium. Somewhat perversely, they were happy to add frescos to the outside of palazzi , where they deteriorated even faster than elsewhere in Italy, and have only left

356-472: A canvas and can also be used for application. Oil paint remains wet longer than many other types of artists' materials, enabling the artist to change the color, texture, or form of the figure. At times, the painter might even remove an entire layer of paint and begin anew. This can be done with a rag and some turpentine for a time while the paint is wet, but after a while the hardened layer must be scraped off. Oil paint dries by oxidation , not evaporation , and

445-500: A complicated and rather expensive process with the panel constructed from several pieces of wood, although such support tends to warp. Panels continued to be used well into the 17th century, including by Rubens , who painted several large works on wood. The artists of the Italian regions moved towards canvas in the early 16th century, led partly by a wish to paint larger images, which would have been too heavy as panels. Canvas for sails

534-446: A difference. For example, a "round" is a pointed brush used for detail work. "Flat" brushes are used to apply broad swaths of color. "Bright" is a flat brush with shorter brush hairs, used for "scrubbing in". "Filbert" is a flat brush with rounded corners. "Egbert" is a very long, and rare, filbert brush. The artist might also apply paint with a palette knife, which is a flat metal blade. A palette knife may also be used to remove paint from

623-468: A few shadowy traces, but apart from the Doge's Palace , used them little in other interior settings. The rapid deterioration of external frescos is often attributed to the seaside Venetian climate, perhaps wrongly. Probably partly for this reason, until the 18th century (with rare exceptions) Venetian churches were never given a coherent scheme of decoration, but feature a "rich profusion of different objects in

712-466: A good commission in Rome in 1511, and never worked in Venice again. But in Rome he soon found that Michelangelo was equally dominant, and began a long and complicated relationship with him; eventually they fell out. His style combined Venetian colour and Roman classical grandeur, and did something to spread Venetian style to the new centre of Italian painting. Paolo Veronese (1528–1588), from Verona in

801-534: A picturesque confusion", often with much wall space taken up by grandiose wall-tombs. Compared with Florentine painting , Venetian painters mostly used and have left fewer drawings. Perhaps for this reason, and despite Venice being Italy's largest centre of printing and publishing throughout the Italian Renaissance and for a considerable time afterwards, the Venetian contribution to printmaking

890-507: A studio, because while outside, an artist did not have the time to let each layer of paint dry before adding a new layer. Several contemporary artists use a combination of both techniques to add bold color (wet-on-wet) and obtain the depth of layers through glazing. When the image is finished and has dried for up to a year, an artist often seals the work with a layer of varnish that is typically made from dammar gum crystals dissolved in turpentine. Such varnishes can be removed without disturbing

979-407: A subject for visiting artists has been extremely popular, especially from shortly after Venetian artists ceased to be significant. Among the best known to frequently depict the city are J. M. W. Turner , James Abbott McNeill Whistler and Claude Monet . Oil painting Oil painting is a painting method involving the procedure of painting with pigments with a medium of drying oil as

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1068-489: A visit by Antonello da Messina (c. 1430–1479), who introduced the oil painting technique of Early Netherlandish painting , probably acquired through his training in Naples . Another external factor was the visit by Leonardo da Vinci , who was particularly influential on Giorgione . During his long career, Giovanni Bellini has been credited with creating the Venetian style. After earlier works, such as his Madonna of

1157-644: A wide range of pigments and ingredients and even include the use of a final varnish layer. The application technique and refined level of the paint media used in the murals and their survival into the present day suggest that oil paints had been used in Asia for some time before the 7th century. The technique used, of binding pigments in oil, was unknown in Europe for another 900 years or so. In Northern Europe, practitioners of Early Netherlandish painting developed oil painting techniques which other Europeans adopted from around

1246-472: Is a forerunner of the Baroque . Jacopo Bassano (c. 1510–1592), followed by the four sons in his workshop, developed an eclectic style, with influences not just from Titian but a range of other painters, which he then utilized for decades from his small hometown of Bassano del Grappa , some 65 km from Venice. His sons continued to work in it long after his death; Baroque painting was very slow to appeal to

1335-613: Is applied. The oldest known oil paintings were created by Buddhist artists in Afghanistan and date back to the 7th century AD. Oil paint was used by Europeans for painting statues and woodwork from at least the 12th century, but its common use for painted images began with Early Netherlandish painting in Northern Europe, and by the height of the Renaissance , oil painting techniques had almost completely replaced

1424-464: Is different from Wikidata All article disambiguation pages All disambiguation pages Venetian painting By chance, the main phases of Venetian painting fit rather neatly into the centuries. The glories of the 16th century were followed by a great fall-off in the 17th, but an unexpected revival in the 18th, when Venetian painters enjoyed great success around Europe, as Baroque painting turned to Rococo . This had ended completely by

1513-420: Is difficult to conclusively assign authorship. A speciality of Giorgione's were idyllic Arcadian scenes, with an example being his Three Philosophers , and this element was adopted by his master Bellini, who increased the landscape in his many Madonnas, and by Titian in work like Pastoral Concert (1508) and Sacred and Profane Love (1515). This emphasis on nature as a setting was a major contribution of

1602-466: Is divided into separate "runs" for figures ( figure ), landscapes ( paysage ), and marines ( marine ) that more or less preserve the diagonal. Thus a 0 figure corresponds in height with a paysage 1 and a marine 2 . Although surfaces like linoleum , wooden panel , paper , slate , pressed wood , Masonite , and cardboard have been used, the most popular surface since the 16th century has been canvas , although many artists used panel through

1691-461: Is frequently used on canvas, whereas real gesso is not suitable for canvas. The artist might apply several layers of gesso, sanding each smooth after it has dried. Acrylic gesso is very difficult to sand. One manufacturer makes a "sandable" acrylic gesso, but it is intended for panels only and not canvas. It is possible to make the gesso a particular color, but most store-bought gesso is white. The gesso layer, depending on its thickness, will tend to draw

1780-526: Is less than might be expected. Like Raphael , Titian experimented with prints, using specialist collaborators, but to a lesser extent. The engraver Agostino Veneziano moved to Rome in his twenties, and Giulio Campagnola and his adoptive son Domenico Campagnola are the main 16th-century artists who concentrated on printmaking and remained in the Republic of Venice , apparently mostly in Padua. The situation

1869-689: Is made by mixing pigments of colors with an oil medium. Since the 19th century the different main colors are purchased in paint tubes pre-prepared before painting begins, further shades of color are usually obtained by mixing small quantities as the painting process is underway. An artist's palette , traditionally a thin wood board held in the hand, is used for holding and mixing paints. Pigments may be any number of natural or synthetic substances with color, such as sulfides for yellow or cobalt salts for blue. Traditional pigments were based on minerals or plants, but many have proven unstable over long periods. Modern pigments often use synthetic chemicals. The pigment

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1958-417: Is made from linen , but less expensive cotton fabric has been used. The artist first prepares a wooden frame called a "stretcher" or "strainer". The difference between the two names is that stretchers are slightly adjustable, while strainers are rigid and lack adjustable corner notches. The canvas is then pulled across the wooden frame and tacked or stapled tightly to the back edge. Then the artist applies

2047-719: Is mixed with oil, usually linseed, but other oils may be used. The various oils dry differently, which creates assorted effects. A brush is most commonly employed by the artist to apply the paint, often over a sketched outline of their subject (which could be in another medium). Brushes are made from a variety of fibers to create different effects. For example, brushes made with hog bristles might be used for bolder strokes and impasto textures. Fitch hair and mongoose hair brushes are fine and smooth, and thus answer well for portraits and detail work. Even more expensive are red sable brushes ( weasel hair). The finest quality brushes are called " kolinsky sable "; these brush fibers are taken from

2136-614: Is sometimes identified as Roger of Helmarshausen ) gives instructions for oil-based painting in his treatise, De diversis artibus ('on various arts'), written about 1125. At this period, it was probably used for painting sculptures, carvings, and wood fittings, perhaps especially for outdoor use. Surfaces exposed to the weather or of items like shields—both those used in tournaments and those hung as decorations—were more durable when painted in oil-based media than when painted in traditional tempera paints. However, early Netherlandish paintings with artists like Van Eyck and Robert Campin in

2225-555: Is the last great Venetian painter, who was also in demand all over Europe, and painted two of his largest fresco schemes in the Würzburg Residence in northern Bavaria (1750–53) and the Royal Palace of Madrid , where he died in 1770. The final flowering also included the varied talents of Giambattista Pittoni , Canaletto , Giovan Battista Piazzetta , and Francesco Guardi , as well as Giovanni Domenico Tiepolo ,

2314-610: Is usually dry to the touch within two weeks (some colors dry within days). The earliest known surviving oil paintings are Buddhist murals created c.  650 AD in Bamiyan , Afghanistan. Bamiyan is a historic settlement along the Silk Road and is famous for the Bamiyan Buddhas, a series of giant statues, behind which rooms and tunnels are carved from the rock. The murals are located in these rooms. The artworks display

2403-466: The Venus of Urbino (1538) richly depict the fabrics and other textures, and use a composition that is carefully controlled by organising colours. As an example, in this painting the diagonal of the nude is matched by the opposite diagonal between the red of the cushions in the front with the red skirts of the woman in the background. With other Venetian painters such as Palma Vecchio , Titian established

2492-463: The poesie series for Philip II of Spain. With such paintings, readily transported by virtue of being oils on canvas, Titian became famous, and helped establish a reputation for Venetian art. Possession of such paintings symbolised luxurious wealth, and for his skills in portraiture he was sought by powerful, rich individuals, such as in his long relationship working for Emperor Charles V and Philip II of Spain. The long dominance of Titian in

2581-535: The Florentine and Roman traditions, and the more sensual, poetic, and pleasure-seeking of the colourful Venetian school. Specifically through the presence of Titians in Spain (he was careful to avoid going there in person), the Venetian style influenced later Spanish art, especially in portraits, including that of Velázquez , and through Rubens was more broadly transmitted through the rest of Europe. Venice as

2670-597: The High Renaissance ideals, and certainly expresses the key distinctive factors of the Venetian school. Vittore Carpaccio (c. 1465–1525/1526) was a pupil of Bellini, with a distinct style. He was rather conservative, and ignored the High Renaissance style developing in the later part of his career, indeed retaining a Late Gothic poetry in many works. With Gentile Bellini , many of Carpaccio's large works give us famous scenes of contemporary life in

2759-442: The binder . It has been the most common technique for artistic painting on canvas , wood panel or copper for several centuries, spreading from Europe to the rest of the world. The advantages of oil for painting images include "greater flexibility, richer and denser color, the use of layers, and a wider range from light to dark". But the process is slower, especially when one layer of paint needs to be allowed to dry before another

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2848-470: The extinction of the Republic of Venice in 1797 and since then, though much painted by others, Venice has not had a continuing style or tradition of its own. 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

2937-401: The extinction of the Republic by French Revolutionary armies in 1797, effectively brought the distinctive Venetian style to an end; it had at least outlasted its rival Florence in that respect. The Venetian school had a great influence of subsequent painting, and the history of later Western art has been described as a dialogue between the more intellectual and sculptural/linear approach of

3026-464: The flax seed, a common fiber crop . Linen , a "support" for oil painting (see relevant section), also comes from the flax plant. Safflower oil or the walnut or poppyseed oil or Castor Oil are sometimes used in formulating lighter colors like white because they "yellow" less on drying than linseed oil, but they have the slight drawback of drying more slowly and may not provide the strongest paint film. Linseed oil tends to dry yellow and can change

3115-463: 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 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

3204-485: The "composite altarpiece" of many small scenes within an elaborate gilded wooden frame, which remained dominant in churches for two centuries. These transferred to painting the form of the huge, jewel-encrusted and very famous Pala d'Oro behind the main altar in San Marco , the enamel panels for which had been made in, and later looted from, Constantinople for successive doges . In fact, one of Veneziano's commissions

3293-557: The "mosaic" is completed and then left to dry before applying details. Artists in later periods, such as the Impressionist era (late 19th century), often expanded on this wet-on-wet method, blending the wet paint on the canvas without following the Renaissance-era approach of layering and glazing. This method is also called " alla prima ". This method was created due to the advent of painting outdoors, instead of inside

3382-458: The 17th century and beyond. The panel is more expensive, heavier, harder to transport, and prone to warp or split in poor conditions. For fine detail, however, the absolute solidity of a wooden panel has an advantage. Some artists are now painting directly onto prepared Aluminium Composite Material (ACM) panels. Others combine the perceived benefits of canvas and panel by gluing canvas onto panels made from ACM, Masonite or other material. Oil paint

3471-501: The Republic's other territories, or further afield. 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

3560-534: The Small Trees (c. 1487), which largely reflect the linear approach of Mantegna, he later developed a softer style, where glowing colours are used to represent form and suggest an atmospheric haze. Applying this approach in his San Zaccaria Altarpiece (1505), the high viewpoint, the uncluttered and interconnected figures arranged in space, and the subtle gestures all combine to form a tranquil yet majestic image. With such works he has been described as reaching

3649-526: The Venetian School. Titian, through his long and productive life, with a wide variety of themes and subjects was the most influential and greatest of all the Venetian painters. His early Pesaro Madonna (1519–1528) shows a bold new composition for such a traditional religious subject, putting the focal point of the Madonna off from the centre and on a steep diagonal. Colours are used to enliven

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3738-460: The Venetian market. These are a few of the most outstanding in the great number of artists in the Venetian tradition , many originally from outside the Republic's territory. The 17th century was a low point in Venetian painting, especially in the first decades when Palma Giovane, Domenico Tintoretto (the son), the Bassani sons, Padovanino and others continued to turn out works essentially in

3827-403: The Venetian painting scene could be a problem for other ambitious Venetian painters. Palma Vecchio (c. 1480–1528) was slightly older than Titian, and apparently content to follow in the wake of the two great innovators; many easel paintings long attributed to Titian may actually be by him. His great-nephew, Palma il Giovane (1548/50–1628), Titian's pupil, much later played a similar role, using

3916-509: The Venetian terraferma, came to Venice in 1553, once he was established, commissioned to paint huge fresco schemes for the Doge's Palace , and stayed for the rest of his career. Although Tintoretto is sometimes classified as a Mannerist artist, he also incorporates Venetian and individualistic aspects. In his Miracle of the Slave (1548), the Mannerist features include the crowded scene,

4005-460: The artist sketching the subject onto the canvas with charcoal or thinned paint. Oil paint is usually mixed with linseed oil, artist grade mineral spirits , or other solvents to make the paint thinner, faster or slower drying. (Because the solvents thin the oil in the paint, they can also be used to clean paint brushes.) A basic rule of oil paint application is ' fat over lean ', meaning that each additional layer of paint should contain more oil than

4094-461: The boundaries of traditional representational painting. Artists like Jackson Pollock drew inspiration from Monet’s large-scale canvases and his focus on the physical process of painting, using techniques that emphasized the action of creating art over the final product. Vincent van Gogh's influence on modern art is equally significant, particularly through his emotive use of color and texture. His impasto technique, where thick layers of paint create

4183-409: The canvas and to cover the white of the gesso. Many artists use this layer to sketch out the composition. This first layer can be adjusted before proceeding further, an advantage over the "cartooning" method used in fresco technique. After this layer dries, the artist might then proceed by painting a "mosaic" of color swatches, working from darkest to lightest. The borders of the colors are blended when

4272-451: The canvas when necessary. A variety of unconventional tools, such as rags, sponges, and cotton swabs, may be used to apply or remove paint. Some artists even paint with their fingers . Old masters usually applied paint in thin layers known as "glazes" that allow light to penetrate completely through the layer, a method also simply called "indirect painting". This technique is what gives oil paintings their luminous characteristics. This method

4361-552: The city, and the Vivarini, though in the end more conservative, were initially the first to embrace styles from the south. Carlo Crivelli (c. 1430–1495) was born in the city, but spent his mature career outside the Republic's territories. His style – highly individual, rather linear, and somewhat neurotic – had no influence on later Venetian painting. From the late-15th century, Venetian painting developed through links with Andrea Mantegna (1431–1506) (from nearby Padua ) and of

4450-461: The city; at this period such views were unusual. He was one of the first painters to mostly use canvas rather than panels. There were a number of other painters who continued essentially quattrocento styles in the two decades after 1500; Cima da Conegliano (c. 1459–c. 1517) is the most significant. Giorgione and Titian were both apprentices at Bellini's workshop. They collaborated on numerous paintings, and their styles could be so similar that it

4539-472: The dominant style began to shift towards International Gothic , with Jacobello del Fiore a transitional figure and the trend, which continued in the rather charming work of Michele Giambono (c. 1400 – c. 1462), who also designed mosaics for San Marco. Gentile da Fabriano and Pisanello were both in Venice during much of the years 1405–1409, painting frescos (now lost) in the Doge's Palace and elsewhere. By

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4628-490: The early and mid-15th century were the first to make oil the usual painting medium and explore the use of layers and glazes , followed by the rest of Northern Europe, and then Italy. Such works were painted on wooden panels , but towards the end of the 15th century canvas began to be used as a support , as it was cheaper, easier to transport, allowed larger works, and did not require complicated preliminary layers of gesso (a fine type of plaster). Venice , where sail-canvas

4717-447: The end of the 17th century things began to change dramatically, and for much of the 18th century Venetian painters were in remarkable demand all over Europe, even as the city itself declined and was a much reduced market, in particular for large works; "Venetian art had become, by the mid-eighteenth century, a commodity primarily for export." The first significant artist in the new style was Sebastiano Ricci (1659–1734), from Belluno in

4806-490: The first Italians to use oil painting , and also to paint on canvas rather than wooden panels. As a maritime power good quality canvas was always available in Venice, which was also beginning to run rather short of timber. The large size of many Venetian altarpieces (for example Bellini's San Zaccaria Altarpiece of 1505, originally on panel) and other paintings encouraged this, as large panel surfaces were expensive and difficult to construct. The Venetians did not develop

4895-498: The genre of half-length portraits of imaginary beautiful women, often given rather vague mythological or allegorical titles, with attributes to match. The artists apparently did nothing to discourage the belief that these were modelled for by the most celebrated of Venice's famous courtesans, and sometimes this may have been the case. Titian continued to paint religious subjects with growing intensity, and mythological subjects, which produced many of his most famous later works, above all

4984-437: The hue of the color. In some regions, this technique is referred to as the drying oil technique. Recent advances in chemistry have produced modern water miscible oil paints that can be used and cleaned up with water. Small alterations in the molecular structure of the oil create this water miscible property. The earliest oil paintings were almost all panel paintings on wood, which had been seasoned and prepared in

5073-480: The late 15th century. From the Renaissance on, oil painting technology had almost completely replaced the earlier use of tempera paints in the majority of Europe. Most European Renaissance sources, in particular Vasari , falsely credit northern European painters of the 15th century, and Jan van Eyck in particular, with the invention of oil paints. However, Theophilus Presbyter (a pseudonymous author who

5162-427: The layer below to allow proper drying. If each additional layer contains less oil, the final painting will crack and peel. The consistency on the canvas depends on the layering of the oil paint. This rule does not ensure permanence; it is the quality and type of oil that leads to a strong and stable paint film. Other media can be used with the oil, including cold wax, resins, and varnishes. These additional media can aid

5251-717: The mid-century, when the Florentine quattrocento was fully mature, Venice still lagged well behind. Perhaps the most visible work in Venice in the Tuscan style was a mosaic Death of the Virgin , in the Capella Mascoli in San Marco, next to a design by Gambono, though other works in the city included frescos by Andrea Castagno . The Vivarini and Bellini families were the two major dynasties of 15th-century painters in

5340-516: The most distinguished of several of the family to train with and assist Giovanni Battista Tiepolo. Canaletto, his pupil and nephew Bernardo Bellotto , Michele Marieschi , and Guardi specialized in landscape painting , painting two distinct types: firstly vedute or detailed and mostly accurate panoramic views, usually of the city itself, many bought by wealthy northerners making the Grand Tour . Few Canalettos remain in Venice. The other type

5429-541: The oil paint into the porous surface. Excessive or uneven gesso layers are sometimes visible on the surface of finished paintings as a change that's not from the paint. Standard sizes for oil paintings were set in France in the 19th century. The standards were used by most artists, not only the French, as it was—and still is—supported by the main suppliers of artists' materials. Size 0 ( toile de 0 ) to size 120 ( toile de 120 )

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5518-435: The oil painting itself, to enable cleaning and conservation . Some contemporary artists decide not to varnish their work, preferring the surface unvarnished to avoid a glossy look. Oil painters such as Claude Monet and Vincent van Gogh revolutionized the medium in ways that profoundly shaped the evolution of modern art. Their groundbreaking innovations in technique, color, and form redefined traditional oil painting and set

5607-536: The oil, are also visible in the sheen of the paints. An artist might use several different oils in the same painting depending on specific pigments and effects desired. The paints themselves also develop a particular consistency depending on the medium. The oil may be boiled with a resin , such as pine resin or frankincense , to create a varnish to provide protection and texture. The paint itself can be molded into different textures depending on its plasticity . Traditional oil painting techniques often begin with

5696-436: The painted surface. Among the earliest impasto effects, using a raised or rough texture in the surface of the paint, are those from the later works of the Venetian painter Giovanni Bellini , around 1500. This became much more common in the 16th century, as many painters began to draw attention to the process of their painting, by leaving individual brushstrokes obvious, and a rough painted surface. Another Venetian, Titian ,

5785-481: The painter in adjusting the translucency of the paint, the sheen of the paint, the density or 'body' of the paint, and the ability of the paint to hold or conceal the brushstroke. These aspects of the paint are closely related to the expressive capacity of oil paint. Traditionally, paint was most often transferred to the painting surface using paintbrushes , but there are other methods, including using palette knives and rags. Palette knives can scrape off any paint from

5874-523: The painting, but also to unify the composition, such as by the large red flag on the left counterbalancing the red in the Madonna and such skilful and sumptuous use of colour became a hallmark of the Venetian style. Although pre-figured by the Sleeping Venus (completed by Titian after Giorgione's death in 1510) Titian is credited with establishing the reclining female nude as an important subgenre in art. Using mythological subjects, works such as

5963-450: The previous method for painting on panel (tempera) had become all but extinct, although Italians continued to use chalk-based fresco for wall paintings, which was less successful and durable in damper northern climates. Renaissance techniques used several thin almost transparent layers or glazes , usually each allowed to dry before the next was added, greatly increasing the time a painting took. The underpainting or ground beneath these

6052-641: The range of painting media . This made portability difficult and kept most painting activities confined to the studio . This changed when tubes of oil paint became widely available following the American portrait painter John Goffe Rand 's invention of the squeezable or collapsible metal tube in 1841. Artists could mix colors quickly and easily, which enabled, for the first time, relatively convenient plein air painting (a common approach in French Impressionism ) The linseed oil itself comes from

6141-427: The same term [REDACTED] This disambiguation page lists articles associated with the title Venetian School . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Venetian_School&oldid=1211801798 " Category : Disambiguation pages Hidden categories: Short description

6230-508: The stage for various art movements that followed. Their influence extends through Expressionism, Fauvism, Abstract Expressionism, and beyond, fundamentally altering how contemporary artists approach color, texture, and emotional expression. Monet’s works, especially his later series like Water Lilies , are considered a precursor to abstract art. His emphasis on capturing the transient effects of light and his near-abstraction of form in his late works, such as Water Lilies: The Clouds (1920), pushed

6319-428: The styles of Tintoretto and Veronese. Lorenzo Lotto (c. 1480–1556/57) was born in the city, but spent most of his mature career in the terraferma , especially Bergamo . He painted religious subjects and portraits in a highly individual and sometimes eccentric style, which despite their rich colouring have a restlessness that is at odds with the Venetian mainstream. Sebastiano del Piombo (c. 1485–1547) accepted

6408-678: The styles of the previous century. The most significant artists working in the city were all immigrants: Domenico Fetti (c. 1589–1623) from Rome, Bernardo Strozzi (c. 1581–1644) from Genoa , and the north German Johann Liss (c. 1590? – c. 1630). All were aware of the Baroque painting of Rome or Genoa, and in different ways developed styles reflecting and uniting these and traditional Venetian handling of paint and colour. New directions were taken by two individual painters, Francesco Maffei from Vicenza (c. 1600–60) and Sebastiano Mazzoni from Florence (1611–78), who both worked mainly in Venice or

6497-601: The tail of the Siberian weasel . This hair keeps a superfine point, has smooth handling, and good memory (it returns to its original point when lifted off the canvas), known to artists as a brush's "snap". Floppy fibers with no snap, such as squirrel hair, are generally not used by oil painters. In the past few decades, many synthetic brushes have been marketed. These are very durable and can be quite good, as well as cost efficient . Brushes come in multiple sizes and are used for different purposes. The type of brush also makes

6586-485: The terraferma in unorthodox and free Baroque styles, both marked by the Venetian trait of bravura brushwork. Visits to Venice by the leading Neapolitan painter Luca Giordano in 1653 and 1685 left a body of work in the latest Baroque style, and had an energising effect on younger artists such as Giovan Battista Langetti , Pietro Liberi , Antonio Molinari , and the German Johann Carl Loth . At

6675-467: The terraferma, who trained in Venice before leaving under a cloud. He returned for a decade in 1698, and then again at the end of his life, after time in England, France and elsewhere. Drawing especially on Veronese, he developed a light, airy, Baroque style that foreshadowed the painting of most of the rest of the century, and was a great influence on young Venetian painters. Giovanni Antonio Pellegrini

6764-520: The twisting linking of figures (as in the central figures, from the foreshortened slave on the ground to the miraculous figure of St. Mark in the sky, through the turbaned, grey-robed figure), and the drama in the gestures and poses. But the colouring maintains the warm reds, golds and greens of the Venetian school, and the figures are arranged in real three-dimensional space, in contrast to the more compressed compositions of many Mannerist works, and with its intensely theatrical, stage-like display his painting

6853-488: The use of egg tempera paints for panel paintings in most of Europe, though not for Orthodox icons or wall paintings, where tempera and fresco , respectively, remained the usual choice. Commonly used drying oils include linseed oil , poppy seed oil , walnut oil , and safflower oil . The choice of oil imparts a range of properties to the paint , such as the amount of yellowing or drying time. The paint could be thinned with turpentine . Certain differences, depending on

6942-440: Was Venetian painting's most significant genre painter , turning early in his career to specialize in small scenes of contemporary Venetian life, mostly with an element of gentle satire. He was one of the first Italian painters to mine this vein, and was also an early painter of conversation piece portraits. Unlike most Venetian artists, large numbers of lively sketches by him survive. The death of Guardi in 1793, soon followed by

7031-446: Was a leader in this. In the 17th century some artists, including Rembrandt , began to use dark grounds. Until the mid-19th century, there was a division between artists who exploited "effects of handling" in their paintwork, and those who continued to aim at "an even, glassy surface from which all evidences of manipulation had been banished". Before the 19th century, artists or their apprentices ground pigments and mixed their paints for

7120-549: Was also popular for proto- Rococo portraits. He ended as a court painter in Madrid . Rosalba Carriera (1675–1757), the most significant Venetian woman artist, was purely a portraitist, mostly in pastel , where she was an important technical innovator, preparing the way for this important 18th-century form. She achieved great international success, in particular in London, Paris and Vienna. Giovanni Battista Tiepolo (1696–1770)

7209-432: Was different in the 18th century, when both Canaletto and the two Tiepolos were significant etchers , and Giovanni Battista Piranesi , though famous for his views of Rome, continued to describe himself as a Venetian for decades after moving to Rome. Paolo Veneziano , probably active between about 1320 and 1360, is the first major figure we can name, and "the founder of the Venetian school". He seems to have introduced

7298-412: Was easily available, was a leader in the move to canvas. Small cabinet paintings were also made on metal, especially copper plates. These supports were more expensive but very firm, allowing intricately fine detail. Often printing plates from printmaking were reused for this purpose. The increasing use of oil spread through Italy from Northern Europe, starting in Venice in the late 15th century. By 1540,

7387-546: Was first perfected through an adaptation of the egg tempera painting technique (egg yolks used as a binder, mixed with pigment), and was applied by the Early Netherlandish painters in Northern Europe with pigments usually ground in linseed oil . This approach has been called the "mixed technique" or "mixed method" in modern times. The first coat (the underpainting ) is laid down, often painted with egg tempera or turpentine-thinned paint. This layer helps to "tone"

7476-470: Was influenced by Ricci, and worked with his nephew Marco Ricci , but also by the later Roman Baroque. His career was mostly spent away from the city, working in several countries north of the Alps, where the new Venetian style was greatly in demand for decorating houses. It was actually slower to be accepted in Venice itself. Jacopo Amigoni (a. 1685–1752) was another travelling Venetian decorator of palaces, who

7565-475: Was made in Venice and so easily available and cheaper than wood. Smaller paintings, with very fine detail, were easier to paint on a very firm surface, and wood panels or copper plates, often reused from printmaking , were often chosen for small cabinet paintings even in the 19th century. Portrait miniatures normally used very firm supports, including ivory , or stiff paper card. Traditional artists' canvas

7654-477: 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. Venetian painters were among

7743-416: Was the capriccio , a fanciful imaginary scene, often of classical ruins, with staffage figures. Marco Ricci was the first Venetian painter of capricci , and the form received a final development by Guardi, who produced many freely painted scenes set in the lagoon, with water, boats and land in "paintings of great tonal delicacy, whose poetic mood is tinged with nostalgia". Pietro Longhi (c. 1702–1785)

7832-476: Was to paint "weekday" panels to fit over the Pala, which was only revealed for feast-days. His style shows no influence from Giotto , active a generation earlier. The earliest form of Italian Renaissance painting was first seen in Venice when Guariento di Arpo from Padua was commissioned to paint frescos in the Doge's Palace in 1365. The traditional Italo-Byzantine style persisted until around 1400 when

7921-414: Was usually white (typically gesso coated with a primer), allowing light to reflect through the layers. But van Eyck, and Robert Campin a little later, used a wet-on-wet technique in places, painting a second layer soon after the first. Initially, the aim was, as with the established techniques of tempera and fresco , to produce a smooth surface when no attention was drawn to the brushstrokes or texture of

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