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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.
The_Dream_of_St._Ursula
The_Dream_of_St._Ursula,_1495;_tempera_on_canvas,_274_x_267_cm_Gallerie_dell'Accademia,_Venice.

Vittore Carpaccio The Dream of St. Ursula oil painting on canvas

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Vittore_Carpaccio
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

INCHES CM PRICE  
16x20 40x50 $69
20x24 50x60 $89
24x36 60x90 $139
30x40 75x100 $149
36x48 90x120 $219
48x72 120x180 $399

    The Dream of St. Ursula, 1495; tempera on canvas, 274 x 267 cm Gallerie dell'Accademia, Venice.
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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