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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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The Stoning of Saint Stephen
1520
Staatsgalerie, Stuttgart
Painting ID:: 334
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The_Stoning_of_Saint_Stephen
1520
Staatsgalerie, Stuttgart
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St.Thomas in Glory between St.Mark St.Louis of Toulouse
1507
Staatsgalerie, Stuttgart
Painting ID:: 335
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St.Thomas_in_Glory_between_St.Mark_St.Louis_of_Toulouse
1507
Staatsgalerie, Stuttgart
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The Lion of St.Mark
Painting ID:: 336
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The_Lion_of_St.Mark
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Portrait of a Knight
1510
Thyssen Collection, Lugano
Painting ID:: 337
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Portrait_of_a_Knight
1510
Thyssen Collection, Lugano
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St.George the Dragon
1502-08
Scuola di San Giorgio degli Schiavoni, Venice
Painting ID:: 338
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St.George_the_Dragon
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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ARTWORKS INDEX
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
ARTISTS INDEX A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
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