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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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reve de sainte ursule
mk289 1495 venise galleria dell accademia
Painting ID:: 71102
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reve_de_sainte_ursule
mk289 1495 venise galleria dell accademia
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Portrat eines Ritters, Detail
1510(1510)
Oil on canvas
cjr
Painting ID:: 72889
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Portrat_eines_Ritters,_Detail
1510(1510)
Oil on canvas
cjr
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Portrat eines Ritters, Detail
1510(1510)
Oil on canvas
cjr
Painting ID:: 72890
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Portrat_eines_Ritters,_Detail
1510(1510)
Oil on canvas
cjr
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Portrat eines Ritters Detail
Title Deutsch: Porträt eines Ritters, Detail
Date 1510(1510)
Medium Oil on canvas
cyf
Painting ID:: 74692
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Portrat_eines_Ritters_Detail
Title Deutsch: Porträt eines Ritters, Detail
Date 1510(1510)
Medium Oil on canvas
cyf
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Vittore Carpaccio
Date 1510(1510)
Medium Oil on canvas
cyf
Painting ID:: 74694
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Vittore_Carpaccio
Date 1510(1510)
Medium Oil on canvas
cyf
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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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