Vittore Carpaccio

From Wikipedia, the free encyclopedia

Vittore Carpaccio  ( Italian pronunciation:  [vitˈtoːre karˈpattʃo] ; c. 1465 – 1525/1526) was a  Venetian  painter of the  Venetian school , who studied under  Gentile Bellini . He is best known for a cycle of nine  paintings ,  The Legend of Saint Ursula . His style was somewhat conservative, showing little influence from the  Humanist  trends that transformed  Italian Renaissance painting  during his lifetime. He was influenced by the style of  Antonello da Messina  and  Early Netherlandish art . For this reason, and also because so much of his best work remains in Venice, his art has been rather neglected by comparison with other Venetian contemporaries, such as  Giovanni Bellini  or  Giorgione .

Biography

 

The Dream of  St. Ursula , 1495; Gallerie dell'Accademia ,  Venice .

Carpaccio was born in  Venice , the son of Piero Scarpazza, a leather merchant. Carpaccio, or Scarpazza, as the name was originally rendered, came from a family originally from  Mazzorbo , an island in the diocese of  Torcello . Documents trace the family back to at least the 13th century, and its members were diffuse and established throughout Venice. His principal works were executed between 1490 and 1519, ranking him among the early masters of the Venetian Renaissance. He is first mentioned in 1472 in a will of his uncle Fra Ilario. Upon entering the Humanist circles of Venice, he changed his family name to Carpaccio. He was a pupil (not, as sometimes thought, the master) of  Lazzaro Bastiani , who, like the  Bellini  and  Vivarini , was the head of a large  atelier  in Venice.

Work

 

The  winged lion of Mark the Evangelist  in the  Doge's Palace

Carpaccio's earliest known solo works are a  Salvator Mundi in the Collezione Contini Bonacossi and a  Pietà  now in the  Palazzo Pitti . These works clearly show the influence of  Antonello da Messina  and  Giovanni Bellini  - especially in the use of light and colors - as well as the influence of the schools of  Ferrara  and  Forlì .

In 1490 Carpaccio began the famous  Legend of St. Ursula , for the Venetian  Scuola  dedicated to that saint. The subject of the works, which are now in the  Gallerie dell'Accademia , was drawn from the  Golden Legend  of  Jacopo da Varagine . In 1491 he completed the  Glory of St. Ursula altarpiece . Indeed, many of Carpaccio's major works were of this type: large scale detachable wall-paintings for the halls of Venetian  scuole , which were charitable and social confraternities. Three years later he took part in the decoration of the  Scuola Grande di San Giovanni Evangelista , painting the  Miracle of the Relic of the Cross at the Ponte di Rialto .

 

St. Augustine in His Study (Carpaccio)

In the opening decade of the sixteenth century, Carpaccio embarked on the works that have since awarded him the distinction as the foremost  orientalist  painter of his age. ^[1]  From 1502 to 1507 Carpaccio executed another notable series of panels for the Scuola di San Giorgio degli which served one of Venice's immigrant communities ( Schiavoni  meaning "Slavs" in Venetian dialect). Unlike the slightly old-fashioned use of a  continuous narrative  sequence found in the  St. Ursula  series, wherein the main characters appear multiple times within each canvas, each work in the  Schiavoni  series concentrates on a single episode in the lives of the Dalmatian 's three patron Saints:  St. Jerome ,  St. George  and St. Trifon. These works are thought of as "orientalist" because they offer evidence of a new fascination with the  Levant : a distinctly middle-eastern looking landscape takes an increasing role in the images as the backdrop to the religious scenes. Moreover, several of the scenes deal directly with cross-cultural issues, such as translation and conversion.

 

Portrait of a Woman  (c. 1510)

For example, St. Jerome, translated the  Greek  Bible  to  Latin  (known as the  Vulgate ) in the fourth century. Then the  St. George story  addressed the theme of conversion and the supremacy of Christianity.

According to the  Golden Legend , George, a Christian knight, rescues a  Libyan  princess who has been offered in sacrifice to a  dragon . Horrified that her  pagan  family would do such a thing, George brings the dragon back to her town and compels them into being  baptized . ^[2]  The St. George tale was enormously popular during the renaissance, and the confrontation between the knight and the dragon was painted by numerous artists. Carpaccio's depiction of the event thus has a long history; less common is his rendition of the baptism moment. Although unusual in the history of St. George pictures,  St. George Baptizing the Selenites  offers a good example of the type of oriental subjects were popular in Venice at the time: great care and attention is given the foreign costumes, and hats are especially significant in indicating the exotic. Note that in  The Baptism  one of the recent converts has ostentatiously 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 is 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." ^[3]  His  relief of the façade of the former School of the Albanians  in Venice reflects this interest, as it commemorates two  sieges of Shkodra  in 1474 and 1478, the latter of which  Sultan Mehmed II  directed personally.

At about the same time, from 1501–1507, he worked in the  Doge's Palace , together with Giovanni Bellini, in decorating of the Hall of the Great Council. Like many other major works, the cycle was entirely lost in the disastrous fire of 1577.

 

The Flight into Egypt  (1500)

Dating from 1504–1508 is the cycle of  Life of the Virgin  for Scuola degli Albanesi, ^[4]  largely executed by assistants, and now divided between the  Accademia Carrara  of  Bergamo , the Pinacoteca di Brera  in  Milan , and the  Ca' d'Oro  of Venice.

In later years 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 bitter sorrow found in such works by  Mantegna  is backed by extensive use of allegoric symbolism. Of the same year is a  Young Knight in a Landscape , now in the  Thyssen-Bornemisza Collection  of Madrid .

In 1516, he painted a  Sacra Conversatione  painting in then Venetian town of  Capodistria  (now Koper in  Slovenia ), which is hanging in its  Cathedral of the Assumption . Carpaccio created several more works in Capodistria, where he spent the last years of his life and also died. ^[5]

Between 1511 and 1520 he finished five panels on the  Life of  St. Stephen  for the Scuola di Santo Stefano. 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 .

Main works

• Zara Polyptych  (c. 1480–1490) - Museum of Sacred Art,  Zadar Cathedral
• Portrait of Man with Red Beret  (1490–1493) - Tempera on wood, 35 x 23 cm,  Museo Correr , Venice
• The Legend of St. Ursula  (1490–1496) a cycle of nine canvasses -  Gallerie dell'Accademia, Venice
  • Arrival of the Ambassadors
  • The Departure of the Ambassadors
  • The Return of the Ambassadors
  • Meeting of Ursula and the Prince
  • The Saint's Dream
  • Meeting of the Pilgrims with the Pope
  • Arrivals of the Pilgrims in Cologne
  • The Martyrdom and the Funeral of St. Ursula
  • Glory of St. Ursula
• Miracle of the Relic of the Cross at the Ponte di Rialto  ( The Healing of the Madman , c. 1496) - Tempera on canvas, 365 x 389 cm, Gallerie dell'Accademia ,  Venice
• Christ between Four Angels and the Instruments of the Passion  (1496) -  Oil on panel, 162 x 163 cm, Civic Museums, Udine
• The Flight into Egypt  (1500) - Tempera on wood, 73 x 111 cm,  National Gallery of Art ,  Washington, D.C.
• St. Catherine of Alexandria and St. Veneranda  (c. 1500) -  Tempera on panel, Museo di Castelvecchio,  Verona
• Cycle in  San Giorgio degli Schiavoni , Venice (1502–1507-  Nine tempera panels, Scuola  San Giorgio degli Schiavoni , Venice
  • St. Augustine in His Study
  • St. Jerome and the Lion
  • Funeral of St. Jerome
  • St. George and the Dragon
  • Triumph of St. George
  • Baptism of the Selenites
  • St. Tryphon and the Basilisk
  • Sermon in the Gethsemane
  • Vocation of St. Matthew
• The Histories of St. Mary  (1504–1508)
  • Birth of the Virgin  - Tempera on canvas, 126 x 128 cm,  Accademia Carrara ,  Bergamo
  • The Marriage of the Virgin  - Canvas, 130 x 140 cm,  Pinacoteca di Brera ,  Milan
  • The Presentation of the Virgin  -  Canvas, 130 x 137 cm, Pinacoteca di Brera, Milan
• Holy Family and donors  (1505) - Tempera on canvas, 90 x 136 cm,  Museu Calouste Gulbenkian ,  Lisbon
• Holy Conversation  (c. 1505) - Tempera on canvas, 92 x 126 cm,  Musée du Petit Palais ,  Avignon
• The Virgin Reading  (1505–1510) -  Tempera on canvas, 78 x 51 cm, National Gallery of Art, Washington, D.C.
• Madonna and Blessing Child  (1505–1510) -  Tempera on canvas, 85 x 68 cm, National Gallery of Art, Washington, D.C.
• St. Thomas in Glory between St Mark and St Louis of Toulouse  (1507) - Tempera on canvas, 264 x 171 cm, Staatsgalerie,  Stuttgart
• Two Venetian Ladies  (c. 1510) -  Oil on wood, 94 x 64 cm, Museo Correr, Venice
• Portrait of a Woman  (c. 1510) - Oil on canvas, 102 x 78 cm,  Galleria Borghese ,  Rome
• Presentation of Jesus in the Temple  (1510) -  Tempera on panel, 421 x 236 cm, Gallerie dell'Accademia, Venice
• Portrait of a Knight  (1510) - Tempera on canvas, 218 x 152 cm,  Thyssen-Bornemisza Collection ,  Madrid
• Portrait of a Young Woman  -  Panel, 57 x 44 cm, Private collection
• The Meditation on the Passion  (c. 1510) - Oil and tempera on wood, 70,5 x 86,7 cm,  Metropolitan Museum of Art ,  New York
• St George and the Dragon  (1516) - Oil on canvas, 180 x 226 cm,  San Giorgio Maggiore , Venice
• The Lion of St Mark  (1516) - Tempera on canvas, 130 x 368 cm,  Doge's Palace, Venice
• The Dead Christ  (c. 1520) - Tempera on canvas, 145 x 185 cm,  Staatliche Museen ,  Berlin
• Stories from the Life of St. Stephen  (1511–1520)
  • St Stephen is Consecrated Deacon  (1511) -  Tempera on canvas, 148 x 231 cm, Staatliche Museen, Berlin
  • The Sermon of St. Stephen  (1514) - Tempera on canvas, 152 x 195 cm,  Musée du Louvre ,  Paris
  • Disputation of St. Stephen  (1514) —  Tempera on canvas, 147 x 172 cm, Pinacoteca di Brera, Milan
  • The Stoning of St Stephen  (1520) —  Tempera on canvas, 142 x 170 cm, Staatsgalerie, Stuttgart
• Virgin and Child With Saint John(1490) Stadel Art Museum,Frankfurt
• Metamorphosis of Alcyone , (c1502–1507) Philadelphia Museum of Art

Notes

1. Jump up ^  Fortini Brown, p. 69.
2. Jump up ^  Jacobus de Voraigine,  The Golden Legend: Readings on the Saints , tr. William Granger Ryan, Vol I (Princeton University Press, 1993), p. 240.
3. Jump up ^  Fortnini Brown, p. 69.
4. Jump up ^  Kathleen Kuiper (February 1, 2010),  The 100 Most Influential Painters & Sculptors of the Renaissance (I ed.), Rosen Education Service, pp. 171–172,  ISBN  978-1615300044
5. Jump up ^  "Leto Vittoreja Carpaccia, spomin na čas, ko je Koper veljal za "istrske Atene " [The Year of Vittore Carpaccio, the Memory of Time when Koper Was Considered the "Athens of Istria"]  (in Slovene). MMC RTV Slovenija. 5 February 2016.

 

 卡巴乔出生在 威尼斯 ，Piero Scarpazza的儿子，一个皮革商人。生牛肉片，或Scarpazza，作为名字最初是渲染，来自于家庭 玛左波岛 ，在教区的一个岛屿 托尔切洛 。文件家世追溯到至少第十三个世纪，其成员均为弥漫了整个威尼斯。他的主要作品是1490和1519之间执行，排名他早期的威尼斯文艺复兴时期的大师们。他是第一次提到在1472在将他的叔叔Fra Ilario。进入威尼斯的人文界，他改变了他的姓氏薄片。他是一个学生（不，有时想，主人）的 拉扎罗Bastiani ，谁，像 贝里尼 和 维瓦利尼 ，是一个大的头 工作室 在威尼斯。

 

生的已知最早的独奏作品是 救世主 在收集和bonacossi蒂尼 怜悯 现在在 Palazzo Pitti 。这些作品清楚地显示的影响 安东内洛大墨西拿 和 乔凡尼·贝利尼 尤其在光和色彩的运用以及对学校的影响 费拉拉 和 弗利 “。

 

1490薄片开始著名的 圣厄休拉的传说 ，在威尼斯 学校 为了纪念圣。作品的主题，现在在 艺术学院美术馆 ，来自 黄金传奇 属于 雅格布大瓦拉金 。1491他完成了 圣厄休拉的荣耀  祭坛 。事实上，许多薄片的主要作品是这种类型：大型可拆式壁画的大厅 威尼斯 一些其他时期的作品 ，这是慈善和社会团体。三年后，他参加了装修 圣约翰大学校 ，绘画 在蓬迪里亚托跨文物的奇迹 “。

 

在第十六世纪开始的十年里，生牛肉片开始有作品自授予他荣誉作为首要的 东方 他这个年龄的画家。 从1502到1507生执行Scuola di San吉奥吉奥的作为一个威尼斯的移民社区面板的另一个显著的系列（ 斯基亚沃尼 意思是“Slavs”在威尼斯人度假村方言中）。不像一个稍微使用老式 连续叙事 在发现序列 圣乌尔苏拉 系列，其中的主要人物多次出现在每个画布，在每一个工作 斯基亚沃尼 系列集中在生活一段时间 达尔马提亚 三的守护神： 圣杰罗姆 ， 圣乔治 街Trifon。这些作品被认为是“东方”，因为他们提供的一个新的魅力的证据 黎凡特 ：明显的中东寻找景观图像中日益重要的作用作为宗教场景的背景。此外，一些场景直接处理跨文化问题，如翻译和转换。

 Kabajo was born in Venice, son of Piero Scarpazza, a leather merchant. Raw beef slices, or Scarpazza, as the name was originally rendered, comes from the family of Thor Cherro, on an island in the parish. File the family back to at least the thirteenth century, its members are spread throughout Venice. His main works are performed between 1490 and 1519, ranking his early Renaissance masters in Venice. He was first mentioned in 1472 in his uncle Fra Ilario. Into the humanities in Venice, he changed his last name. He is a student (not, sometimes think, Master) Lazaro Bastiani, who, like Bellini and Vee Varigny, is a big head studio in Venice.

The earliest known solo works is the Savior of the world in the collection and was now at Palazzo Pitti bonacossi mercy. These works clearly show the influence of Antonello and Giovanni Bellini in Messina especially in the use of light and color as well as the impact on the school's Ferrara and foley".

The 1490 slice begins with the famous St. Ursula's legend in Venice school in honor of st.. The theme of the work, now at the Art Institute Museum of art, from the Golden Legend is Yagebudawalajin. 1491 he completed the holy altar of St. Ursula. In fact, many of the major works of this type: large sheet is detachable mural hall in Venice and some other works of the period, this is a charity and social groups. Three years later, he joined the Saint John School of painting in the decoration, the Ponte Di Rialto miracle of the relic of the cross".

In the ten years since the beginning of the sixteenth century, the beef slices began to be awarded to him as the chief painter of his age. [1] from 1502 to 1507 Scuola di San executive Giorgio as another significant series of immigrant communities in panel a of Venice (Schiavoni meaning "Slavs" in Venice dialect in the resort). Unlike a slightly older continuous narrative in St. Sura found that the sequence of ur series, in which the main character is repeated in each canvas, in every work focused on a series of Schiavoni life time: three of Dalmatia's patron saint St. Jerome, ST.George's Mall Trifon. These works are considered to be "Oriental" because they provide a new proof of the charm of the Levant: the apparent Middle East looks for an increasingly important role in the landscape image as the backdrop of religious scenes. In addition, some scenarios directly deal with cross-cultural issues, such as translation and translation.