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67-655: 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 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 ,

134-621: 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

201-438: 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

268-462: 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 was included below

335-725: A dubious source. Gentile responded to other aspects of the East, including the Byzantine Greek Empire, as well as Venice's other trading partners in North Africa and Levant . Venice had a long-established relationship with the Eastern Mediterranean . Saint Mark , Venice's patron , was from the Egyptian city of Alexandria , and Venice's cultural and spiritual centre – the basilica of San Marco –

402-697: 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

469-399: 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

536-657: 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

603-754: 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

670-461: A rather acerbic comment about him as an early teacher of Titian: Titian could not bear to follow the dry and labored manner of Gentile... Because of this, leaving this awkward Gentile, Titian attached himself to Giovanni Bellini: but his style did not entirely please him either, and he sought out Giorgione . He was interred in the Basilica di San Giovanni e Paolo , a traditional burial place of

737-446: 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

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804-462: 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

871-405: 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

938-564: A very important point in which cultures and trade bordered on the eastern Mediterranean Sea and provided gateways to Asia and Africa . As noted, in his lifetime, Gentile was the most prestigious painter in Venice. Therefore, in 1479, he was chosen by the government of Venice to work for Sultan Mehmed II in Constantinople . However, in addition to his work at the Ottoman Court, Gentile's work also responded to other aspects of

1005-511: Is believed to have painted the portrait of Mehmed II now in the National Gallery, London , (but largely overpainted). Subsequently, an Oriental flavour appears in several of his paintings, including the portrait of a Turkish artist and St. Mark Preaching at Alexandria (above). The last was completed by his brother, Giovanni Bellini . According to Carlo Ridolfi (who was born 87 years after Bellini's death) in his 1648 history of

1072-705: 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

1139-839: 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

1206-620: 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

1273-548: 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

1340-595: 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

1407-595: 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

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1474-637: 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

1541-635: 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

1608-561: 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

1675-476: The 1470s and 1480s, except for the works made in Constantinople. Moreover, many workshop paintings and drawings have been assigned to Gentile Bellini. This has had the unfortunate consequence of confirming his reputation as an awkward artist, especially in comparison with his beloved brother Giovanni. Gentile's fall from popular favor seems to have begun shortly after his death; by 1557 Lodovico Dolce made

1742-459: 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

1809-718: 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

1876-714: The East, including the Byzantine Empire . In September 1479 Gentile was sent by the Venetian Senate to the new Ottoman capital Istanbul as part of the peace settlement between Venice and the Turks. His role was not only as a visiting painter but also as a cultural ambassador for Venice. This was important to Mehmed II , as he was particularly interested in the art and culture of Italy, and he attempted on several occasions to have himself portrayed by Italian artists. He finally reached his goal with Gentile, who

1943-576: 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

2010-523: 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

2077-546: 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

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2144-456: 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

2211-431: 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

2278-405: 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

2345-535: The Venetian painters: Bellini made a painting of the head of John the Baptist on a charger, the saint being revered by the Turks as a prophet. When the picture was brought before the Sultan, he praised the skill exhibited there, but drew Gentile's attention nonetheless to an error, which was that the neck stretched out too far from the head, and as it appeared to him that Gentile appeared unconvinced, to enable him to see

2412-775: 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

2479-516: The Wikimedia System Administrators, please include the details below. Request from 172.68.168.150 via cp1114 cp1114, Varnish XID 918480871 Upstream caches: cp1114 int Error: 429, Too Many Requests at Thu, 28 Nov 2024 07:52:33 GMT Gentile Bellini Gentile Bellini (c. 1429 – 23 February 1507) was an Italian painter of the school of Venice . He came from Venice's leading family of painters, and at least in

2546-539: 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

2613-542: 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

2680-751: 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

2747-477: 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

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2814-563: The early part of his career was more highly regarded than his younger brother Giovanni Bellini , the reverse of the case today. From 1474 he was the official portrait artist for the Doges of Venice , and as well as his portraits he painted a number of very large subjects with multitudes of figures, especially for the Scuole Grandi of Venice , wealthy confraternities that were very important in Venetian patrician social life. In 1479 he

2881-458: The leading family of painters in Venice. His father Jacopo Bellini , was a Venetian pioneer in the use of oil paint as an artistic medium; his brother was Giovanni Bellini , and his brother-in-law Andrea Mantegna . He was christened Gentile after Jacopo's master, Gentile da Fabriano . Gentile was taught painting in the workshop of his father. Although today Gentile is often seen in the shadow of his more famous family members, in his own time he

2948-432: 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

3015-580: 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

3082-453: The natural effect, he had a slave brought to him and had his head chopped off, demonstrating to him how, once separated from the chest, the neck contracted. Gentile, fearful at such barbarities, immediately tried in every way to be released from his contract in case one day he himself should be the victim of such a joke. This anecdote is likely apocryphal, as a similar story had been told by Seneca of Parrhasius , as well as of Michelangelo via

3149-642: 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

3216-563: The pastoral vision of the next generation. By about 1510 Carpaccio's style was perceived by contemporaries as too conservative, showing little influence from 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

3283-473: 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

3350-719: The queen, which is now in the collection of the Szepmuveszeti Museum in Budapest. Bellini's most important paintings, the monumental canvases in the Doge's Palace in Venice, were destroyed by fire in 1577. Only a few of his other works remain, namely the large narrative paintings The Procession in Piazza San Marco (above left) and The Preaching of Saint Mark in Alexandria (above right), produced in his final years. Little remains of Gentile's art from

3417-451: The same title as the exhibition was simultaneously released. The exhibition brought together forty-five paintings and thirty drawings made by Carpaccio, including the NGA's Virgin Reading ( c.  1505 ), which had recently undergone conservation work. It is planned for the exhibition to travel to the Palazzo Ducale, Venice, to be on view from March 18 to June 18, 2023. Altarpiece Too Many Requests If you report this error to

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3484-482: 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

3551-549: 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

3618-409: 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

3685-499: 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)

3752-400: Was also the official portrait artist for the Doges of Venice, (for example, see image of the Doge Giovanni Mocenigo at right). Much of Gentile Bellini's surviving work consists of very large paintings for public buildings, including those for the Scuola Grande di San Giovanni Evangelista . Along with Lazzaro Bastiani , Vittore Carpaccio , Giovanni Mansueti and Benedetto Rusconi , Bellini

3819-474: 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

3886-430: 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 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

3953-419: 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 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

4020-417: Was built in his honor (and as his mausoleum) in the Greek Byzantine style. Although Constantinople fell to the Ottoman Turks in 1453, the Greek Byzantine world had a continuing impact upon Venetian art and culture as a number of Greek Christians fled Muslim rule. It was here that Gentile painted the portrait of Queen Caterina Cornaro of Cyprus (at right). This is counted as the second known portrait including

4087-477: Was considered among the greatest living painters in Venice and had no shortage of commissions; his talent as a portraitist revealed itself at an early age. Gentile's earliest signed work is The Blessed Lorenzo Giustinian (1445), one of the oldest surviving oil paintings in Venice (now at the Accademia Museum). During the 1450s Bellini worked on a commission for the Scuola Grande di San Marco and painted in conjunction with his brother, Giovanni Bellini. From 1454 he

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4154-420: 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

4221-418: 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

4288-499: 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

4355-539: Was one of the artists of hired to paint the 10-painting narrative cycle known as The Miracles of the Relic of the Cross . The commission was intended to celebrate the relic of the Holy Cross which the confraternity had received in 1369. Gentile's contributions include the Procession of the True Cross in Piazza San Marco , which dates from 1496, and the Miracle of the True Cross at the S. Lorenzo Bridge , dating from 1500 and featuring Gentile's self-portrait and that of his brother Giovanni. Venice was, at that time,

4422-454: 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

4489-411: Was sent to Constantinople by the Venetian government when the Ottoman Sultan Mehmed II requested an artist; he returned the next year. Thereafter a number of his subjects were set in the East, and he is one of the founders of the Orientalist tradition in Western painting. His portrait of the Sultan was also copied in paintings and prints and became known all over Europe. Gentile was born into

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