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.
mk247
1502 to 08 , oil on canvas,55x82 in,141x210 cmo,scuola di san giorgio degli schiavoni,venice,ltaly
mk247
1502 to 08 , oil on canvas,55x82 in,141x210 cmo,scuola di san giorgio degli schiavoni,venice,ltaly
Height Width
INS/CM Quality
X
The Dream of St. Ursula
The Dream of St. Ursula
Painting ID:: 58293
The Dream of St. Ursula, 1495; tempera on canvas, 274 x 267 cm Gallerie dell'Accademia, Venice.
The Dream of St. Ursula, 1495; tempera on canvas, 274 x 267 cm Gallerie dell'Accademia, Venice.
Height Width
INS/CM Quality
X
reve de sainte ursule
reve de sainte ursule
Painting ID:: 71058
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.