Vittore Carpaccio

Italian 1455-1526 Vittore Carpaccio Locations His name is associated with the cycles of lively and festive narrative paintings that he executed for several of the Venetian scuole, or devotional confraternities. He also seems to have enjoyed a considerable reputation as a portrait painter. While evidently owing much in both these fields to his older contemporaries, Gentile and Giovanni Bellini, Carpaccio quickly evolved a readily recognizable style of his own which is marked by a taste for decorative splendour and picturesque anecdote. His altarpieces and smaller devotional works are generally less successful, particularly after about 1510, when he seems to have suffered a crisis of confidence in the face of the radical innovations of younger artists such as Giorgione and Titian.


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Vittore Carpaccio The Stoning of Saint Stephen oil


The Stoning of Saint Stephen
Painting ID::  334
The Stoning of Saint Stephen
1520 Staatsgalerie, Stuttgart
1520_ Staatsgalerie,_Stuttgart
   
   
     

Vittore Carpaccio St.Thomas in Glory between St.Mark St.Louis of Toulouse oil


St.Thomas in Glory between St.Mark St.Louis of Toulouse
Painting ID::  335
St.Thomas in Glory between St.Mark St.Louis of Toulouse
1507 Staatsgalerie, Stuttgart
1507_ Staatsgalerie,_Stuttgart
   
   
     

Vittore Carpaccio The Lion of St.Mark oil


The Lion of St.Mark
Painting ID::  336
The Lion of St.Mark

   
   
     

Vittore Carpaccio Portrait of a Knight oil


Portrait of a Knight
Painting ID::  337
Portrait of a Knight
1510 Thyssen Collection, Lugano
1510_ Thyssen_Collection,_Lugano
   
   
     

Vittore Carpaccio St.George the Dragon oil


St.George the Dragon
Painting ID::  338
St.George the Dragon
1502-08 Scuola di San Giorgio degli Schiavoni, Venice
1502-08_ Scuola_di_San_Giorgio_degli_Schiavoni,_Venice
   
   
     

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     Vittore Carpaccio
     Italian 1455-1526 Vittore Carpaccio Locations His name is associated with the cycles of lively and festive narrative paintings that he executed for several of the Venetian scuole, or devotional confraternities. He also seems to have enjoyed a considerable reputation as a portrait painter. While evidently owing much in both these fields to his older contemporaries, Gentile and Giovanni Bellini, Carpaccio quickly evolved a readily recognizable style of his own which is marked by a taste for decorative splendour and picturesque anecdote. His altarpieces and smaller devotional works are generally less successful, particularly after about 1510, when he seems to have suffered a crisis of confidence in the face of the radical innovations of younger artists such as Giorgione and Titian.

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