Meeting 3 Venetian painters #structuresofvenice
Why learn something about Venetian painters?
Because they are not called Da Vinci, nor Botticelli. Many times, Venetian painters did not make it too famously into popular art history books. It might have also a „simple“ and practical reason.
However, Venetian art is particularly interesting, as it strongly reflects "pesonality" of art drawn here travelers ever since.
In the words of the poet from the 19th century, Venice was described like this:
"From balconies in air,
The emblazoned silken awning
Flows like a lazy sail;
And gondoliers down there,
And masks upon the stair,
Hear music swelling o’er them like a gale."*
Henry Wadsworth Longfellow,
ed. Poems of Places: An Anthology in 31 Volumes.
Italy: Vols. XI–XIII.1876–79.
The art that you can see in the modern art history books are often those, that were „exported“ outside of their former areas, sold to multiple owners or being exposed in the international art scenes. By repeatedly seeing something, it can „become“ also more famous and recognized.
Giovanni Bellini: St Francis in Ecstasy
Frick collection new york 1480, Google Art Project, Public Domain
The example of the painting, that has the international exposure and made its way to numerous art publication. It can be one of the most know paintings of Bellini outside of Italy
Even our modern teaching of the history of art is giving more visibility to painters creating more in Milan, Florence or Rome, also Venetian painters deserve our attention.
Learn these, and you can lead an elaborate small talk with Venetians while taking spritz in the afternoon light in Venice. Or, enjoy your visit more, by getting to know its local artists!
Interestingly, many times, you even don´t need to visit galleries or museums. Simply by walking around Venice, entering churches or Scuole, you will meet the old „Maestros“ of „Pittura Veneziana“.
Vittore Carpaccio: Miracle of the Holy Cross at Rialto
Galleria Dell´Accademia Venice
The example of scene representing power and "ownership" of the Relic. Painting and its whole cycle can be today seen in Galleria Dell´Accademia, however its original location was at Scuola Grande San Giovanni Evangelista
Venetian painters were in most of the cases working for Venice. It had a practical and social reason. Back in time, Venice was not called Venice, but Republica La Serenissima. La Serenissima was covering not only today's Veneto and its lagoon but also coasts around today's Croatia and more down south. It was ruling to cities far from its political and cultural centre – the city of Saint Mark.
Venetian areas were controlled and were totally influenced by the rule of the Venetian Doge. Where was Venice in power, there were its boats, ports, but also palaces and housing for its citizens. Italy was until the end of 19th century Italy, as well. Apennine was created by kingdoms and city-states, with its ruling families, pope, or kings and knights. Each of these kingdoms or city-state had its allies and also rivals. There was not complete freedom of the movement of persons, or of the merchanting. Everything was under control. From the business, import, export, to the system of faith, moral, marriages, having or not having a job or income. So were the painters.
Painters were a part of the painter´s guild. In the case of Venice, they worked as today's „freelancers“, getting contracted on a particular work to be done. Venice would create something such as „public competitions“ where various artists would compete. Then, if the painter would win a competition, he would have to finish his work upon a given deadline. Of course, the most famous names were not working alone. They were the heads of the atelier, but they would have assistants working for them.
The painting was a serious craft. There were different types of painting – there could have been figural portraits of the citizens of La Serenissima, portraits of the rulers – Doges. Artworks to be part of the official spaces – such as paintings in Palazzo Ducale. Paintings for the churches as part of the interior, or fresco paintings- parts of the walls of the interiors with mainly "storytelling" force.
Vittore Carpaccio: Lion of Saint Mark 1516
To be seen in Palazzo Ducale Venice
A few centuries ago, Venice had its own symbolism developed. Animals, supernatural events, or historic events would be parts of the painting, And nothing, that occurred in painting was there by chance. As not everyone was able to read back in time, paintings had an important storytelling role in society. With the development of the printing, many paintings would be transferred into carvings, and sometimes sold in copy versions, or would serve as an inspiration for decorative part of books or pamphlets. Reading the images was a huge part of „reading“ and getting information.
Who are our painters, we are going to „meet“ about today?
It will be 2 renaissance painters Giovanni Bellini, Vittore Carpaccio representing art in the sake of "La Serenissima". Then, it will be rococo painter, and a woman (!)
Rosalba Carriera, a pioneer of pastel portrature and ultimately a woman, that became successful thanks to her work.
1 Giovanni Bellini
1430 (Venice) – 1516 (Venice)
Renaissance painter
Does this name sound familiar to you? There are 2 options. Or you already know some of his paintings, or it sounds like one Venetian cocktail. Which group are you in?
„ I predict you, Giovanni, that one day you will be so famous, that somebody will name a cocktail after you.“ Said the future- teller, nestled at the steps of Rialto Bridge.
„ Hah, of course!!!“ Replied with a grimace young painter, threw a coin to the old woman and hurried back to his Bottega to continue working on his commission designs...
Okay I made this up, but it may have happened... just imagine, what would he say, if he learned what would happen to his name!
So before there was a cocktail, invented by the founder of Harry´s Bar in 1948, consisting of prosecco and white peaches, there was the original painter, indeed.
„Cipriani's recipe calls to gently stir two parts Prosecco and one part fresh peach pureé, served in a chilled flute. Legend has it that the drink’s characteristic sunset shade reminded the bartender of the strikingly chromatic paintings by 15th-century Venetian artist Giovani Bellini, hence the name. Thanks to Cipriani’s international regulars, word of the refreshing drink quickly spread to New York, Paris, and beyond.“
(1)
Giovanni Bellini was coming from an already known artistic family, and he is „categorized“ into high Italian renaissance period. He lived from 1430 – 1516, so he had to enjoy a renaissance in bloom. His paintings are full of colours, details, many times almost a photographs of Venetian, created a scene from their real or mythological life.
By his detailed depictions of saints, with a particular accent on the body´s position and also facial expression, he helped to raise Venetian painting to the level of Florence´s painting world.
To see Giovanni Bellini, you might like to visit Galleria Dell Accademia in Venice.
2 Vittore Carpaccio
1460 (Venice)- 1526 ( Venice)
High renaissance painter
Another painter, who inspired Giuseppe Cipriani in 1950 to creatively use this name for a dish. The dish includes raw meat of fish, served often as an appetizer. Its dark „raw“ red colour refers to Carpaccio´s red in his paintings.
The style of Carpaccio, his compositions and situations depicted are very significant for a renaissance and Venetian renaissance painting. Placing historical, biblical or mythological figures into „small“ models of the exterior. In his paintings, you can also see inspiration about how interiors might have looked like in Renassaince times, however, we still need to count with the artist´s stylization.
His important works also demonstrate the „life“ and the cycle of Venice, as he was called to depict the important moments for Venice. It does not only demonstrate a „public image“ of Venice of those days, but it also shows potential clothing style of those times and we can recognize their figures from the life of La Serenissima. Truly precious artistic, but also historical material. In his paintings, we can often see picturesque and sorry to say, but also cute motifs, such as a joyful addition to the gracious motifs. You can find a furry dog, monkey. Things, you would maybe not expect in a representative state´s renaissance painting.
In Venice, you can see his famous painting „2 Venetian Ladies“ in the collection of Museo Correr. A place to search for his paintings is in Galleria Dell Accademia. In the 20th century, Carpaccio was also studied by painter Amadeo Modigliani, who would research his works in Venice. Another example of Carpaccio´s work is to be found in Scuola di San Giorgio Degli Schiavoni, where are his and his workshop´s work from 1501 - 15011: painting cycle telling the story of Dalmatian saints, chosen patrons of Scuola Grande di San Giorgio Degli Schiavoni.
Usually ( if not under pandemic restriction) it is possible to visit interiors of this Scuola and see the whole Cycle. More info about visiting and Scuola Dalmata here. https://www.scuoladalmatavenezia.com/
Shortly about the history and the context of Scuola and Carpaccio, in words of Save Venice Inc, the organization, that is dedicated to protection, preservation and reconstruction of the artistic and cultural heritage of Venice. Everyone can contribute to the restoration campaigns listed on their website, also including this Scuola.
„The Scuola di San Giorgio Degli Schiavoni (Scuola Dalmata) was recognized in 1451 as a confraternity for residents in Venice from the Dalmatia region (now part of Croatia), where there were many important Venetian colonies, including the Adriatic seaports of Split and Dubrovnik.
In the first years of the sixteenth century, the Scuola undertook an extensive remodelling and decorating campaign for their meeting house located in the sestiere of Castello, and Vittore Carpaccio received the commission to paint a cycle of paintings narrating the stories of the confraternity’s patron saints Jerome, George and Tryphon.“
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3 Rosalba Carriera
1675 (Venice) – 1757 (Venice)
Rococo painter
The main thing we should remember about a painter Rosalba Carriera is simple. She is a queen of pastel! By the style, she is referred to as a Venetian Rococo painter.
There is always a discussion about her formal training. Her mother used to do embroidery, lace pattern making and Rosalba and her sisters would do the same. She was used to creating with hands and also to draw and design. She was educated in languages, music, literature and history. It is possible, she observed the art of painting in some of Venetian „Bottega“ – workshops of paintings.
Rosalba lived in the artistic era when started to be popular a sort of „mannerism“ in painting and later also in the decorative art.
Far from previous Renassaince painters such as Bellini or Carpaccio. From being skilled in painting miniature tobacco sniff-boxes, she moved into the depiction of noble persons, later also politicians, artists or kings. She experienced a change of focus and interest in person, personality, into depicting people for their own pleasure. Her portraits were extremely popular, as she managed to capture person realistically enough, but with a „kind“ artistic stamp, making face slightly thinner, with powdery perfect skin and soft pleasing expressions.
Rosalba Carriera was skilled in the languages and her career was moving pretty forward. She gained success in Paris, where she fully expanded her painting portfolio. She was also invited to Royal court in Vienna, where she portraited Emperor Carl VI. And Empress Elisabeth Interestingly, her success and influence in Paris were great, she was also accepted to French painting academy. Among her admirers were also French Baroque painter Antoine Watteau.
Her artistic medium was pastel. Until her turn, pastel was not that used medium, however, under her artistic influence, many creators grabbed this medium and started to produce works in it. She was a part of Venetian society, experiencing meetings with the statesmen visiting Venice and attending balls, as in Venice should be. Later in her career, from being simply a woman from the lagoon, she gathered quite a property and afforded to live in a palace on Grand Canal. It is Casa Biondetti right opposite to Palazzo Venier (former home of Peggy Guggenheim, today Collection Peggy Guggenheim.)
„Not only was Carriera the undisputed Godmother of pastel, but she also revolutionized artistic technology by binding powder pastel, formerly utilized either with brushes or in cumbersome lumps, into streamlined, uniform sticks, expediting the development of a wider range of prepared colours. She also was one of the first artists to champion the use of wet pastel to create quick, luminous layers, a technique that is still in circulation today.
All this invention and recognition afforded her a rather fabulous lifestyle, filled with furs, jewels, and access to some of the most rarified courts in the world. By all accounts, Carriera was today's equivalent of a multimillionaire, quite a feat for an unmarried, formerly destitute woman with no formal training in any of her ventures. „
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Some of her artworks in Venice can be found in Ca´Rezzonico and its gallery. Other works are spread all around Europe in galleries or as private property.
I wish Rosalba Carriera would be more known in Venice. Her work and testimony would deserve more visibility and might create a great inspiration also for the modern creators.
Rosalba Carriera: Feminine portrait with a mask
This file is licensed under the Creative Commons Attribution-Share Alike 3.0
Unported license. Attribution: Fondazione Cariplo
I hope you liked little meet- up with creators of the past. Whether the interest in these painters was caused by a cocktail, a type of appetizer or pure curiosity about the works of art, it all counts.
What they can tell us, after all those years that passed, might be read from their paintings, but also their life – stories.
Enjoy their further exploring online, or visiting their exhibited artworks, when possible. If you would like to be more immersed in the culture, art and history (and possibly future) of Venice, stay tuned on this blog also in the future!
Rosalba Carriera: Gustavus Hamilton, 2nd Viscount Boyne in Masquerade Costume
Soft and kind pastel portrait, almost giving us possibility to have an imagination about personality of Gustavus. Black "tricorno" hat trimmed with silver lining is ellegantly accompanied by Venetian mask - bauta. Bauta was worn during Carnival time both by women and men.
MET, Public Domain
Where to head in Venice, Italy to meet these painters:
1 Palazzo Ducale
2 Galleria Dell´Accademia
3 Scuola Dalmata
4 Scuola Grande San Giovanni Evangelista
5 Ca´Rezzonico
Where to find them online:
MET New York
V&A Museum London
Text: Karolinska 2021
Portraits of the artists: WikiArt Public Domain
Paintings: WikiArt Public Domain, unless not stated diferently
"Copertina": Collage Karolinska 2021 from images of Public Domain, additional filter postproduction, custom background and shape #structuresofvenice
References: