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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 Holy Ursula dromas
mk234
1494
275x265cm
Painting ID:: 53714
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The_Holy_Ursula_dromas
mk234
1494
275x265cm
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dream of st.ursula
mk247
1495,tempera on canvas,108x105 in,274x267 cm,gallerie dell accademia,venice,ltaly
Painting ID:: 55980
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dream_of_st.ursula
mk247
1495,tempera on canvas,108x105 in,274x267 cm,gallerie dell accademia,venice,ltaly
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vision of st.augustine
mk247
1502 to 08 , oil on canvas,55x82 in,141x210 cmo,scuola di san giorgio degli schiavoni,venice,ltaly
Painting ID:: 55992
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vision_of_st.augustine
mk247
1502 to 08 , oil on canvas,55x82 in,141x210 cmo,scuola di san giorgio degli schiavoni,venice,ltaly
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The Dream of St. Ursula
The Dream of St. Ursula, 1495; tempera on canvas, 274 x 267 cm Gallerie dell'Accademia, Venice.
Painting ID:: 58293
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The_Dream_of_St._Ursula
The Dream of St. Ursula, 1495; tempera on canvas, 274 x 267 cm Gallerie dell'Accademia, Venice.
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reve de sainte ursule
mk289 1495 venise galleria dell accademia
Painting ID:: 71058
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reve_de_sainte_ursule
mk289 1495 venise galleria dell accademia
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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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