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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.
Vittore Carpaccio Maria Geburt 1504-1508
Medium oil on canvas
Dimensions Deutsch: 128 x 137 cm
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Painting ID:: 91681
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Vittore Carpaccio The Meditation on the Passion c. 1510(1510)
Medium oil and tempera on wood
Dimensions Height: 70.5 cm (27.8 in). Width: 86.7 cm (34.1 in).
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Painting ID:: 92726
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Vittore Carpaccio Taufe der Unglaubigen durch Hl. Georg c. 1507
Medium oil on canvas
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Painting ID:: 94668
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Vittore Carpaccio Christ between Four Angels 1496
Type Oil on panel
Dimensions 162 cm x 163 cm (64 in x 64 in)
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Painting ID:: 94688
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Vittore Carpaccio Holy Family and donors 1505
Type tempera and (?)oil on panel
Dimensions 141 cm x 285 cm (56 in x 112 in)
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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.
