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In the early 1510s, Carpaccio began to experiment with other formats, particularly altarpieces and other devotional works on a smaller scale. However, he experienced less success upon the rise of younger artists, such as Titian, Giorgione, and Lorenzo Lotto, whose innovative styles challenged his conservative values. N... |
Between 1511 and 1520 he finished five pictures on the Life of St. Stephen for the Scuola di Santo Stefano. One of those paintings, The Ordination of Saint Stephen (1511), an oil on canvas, is located today in the Gemäldegalerie, Berlin. |
Carpaccio's Saint George and the Dragon (1516), an oil on canvas painting located in the Abbazia di San Giorgio Maggiore, Benedicti Claustra Onlus, (Venice), positions St. George as the dragon-slayer to symbolize the triumph of Christian values over the devil (represented as a dragon). Although uncommon in the iconogra... |
In 1516, he painted a Sacra Conversatione painting in the then-Venetian town of Capo d'Istria (now Koper in Slovenia), which is hanging in its Cathedral of the Assumption. Carpaccio created several more works in Capo d'Istria, where he spent the last years of his life and also died. |
Narrative cycles and Altarpieces |
The Legend of Saint Ursula Cycle |
In 1490, Carpaccio began The Legend of Saint Ursula, a series of paintings executed for the Scuola di Sant'Orsola depicting the life of the confraternity's patron saint. The Scuola di Sant'Orsola was a well-established confraternity where many individuals across the social spectrum would come together and engage in civ... |
The subject of Carpaccio's paintings, which are housed in the Gallerie dell'Accademia, was drawn from the Golden Legend of Jacopo da Varagine. The legend revolves around St. Ursula and her companions in Cologne where tradition relates that in the year 385, a legion of eleven thousand virgins professing their faith to C... |
The cycle of paintings expresses a fantastical tone that is reminiscent of Giovanni Bellini and Gentile Bellini. It would take Carpaccio about seven years to complete all nine paintings and over the course of the seven years his artistic style would mature. Carpaccio's use of perspective, depth, and dimension were key ... |
The Schiavoni and Albanesi Cycles |
In the opening decade of the sixteenth century, Carpaccio embarked on works that scholars have argued made him one of the foremost orientalist painters of his age.: 69 From 1502 to 1507 Carpaccio executed another notable cycle of panels for the Scuola di San Giorgio degli Schiavoni which served one of Venice's immigra... |
The painting cycle of Life of the Virgin for Scuola degli Albanesi dates to 1504–1508 and was largely executed by Carpaccio's assistants. The images are now divided among the Accademia Carrara of Bergamo, the Pinacoteca di Brera in Milan, and the Ca' d'Oro in Venice. |
Altarpieces |
In 1491, Carpaccio completed the Glory of St. Ursula altarpiece, a large scale detachable wall-painting painted for the hall of one of the Venetian scuole, which were charitable and social confraternities. Three years later he took part in the decoration of the Scuola Grande di San Giovanni Evangelista, painting the Mi... |
Artistic decline and death (1520s) |
Towards the end of his life, the quality of his art began to decline, specifically following his Schiavoni pieces. The change in quality was remarked upon by the artistic community then and now. By contrast, the Italian Renaissance painter Giorgione made innovations in the field that Carpaccio was simply unable to matc... |
Carpaccio's late works were mostly done in the Venetian mainland territories, and in collaboration with his sons Benedetto and Piero. One of his pupils was Marco Marziale. |
He spent his final years in this Slovenian town, where he died between 1525 and 1526. |
Style |
Carpaccio was one of the first artists to include a cartellino into his paintings; he inserted it into select pieces in a way that made it appear as if the artist had left it there without thought. |
In comparison to his mentor Giovanni Bellini, Carpaccio's works are overall less defined. Considered untraditional at the time, Carpaccio painted his altarpieces on canvas rather than on wood panel. In addition, he carried out thin priming, which resulted in a bolder look. |
Carpaccio was observed to have played with the vanishing point in his works. For example, in St. Jerome In His Study, the vanishing point is to the right of the center. While he did still employ the traditional use of having the vanishing point be in the center, at times Carpaccio added a second vanishing point. In The... |
Carpaccio paid special attention to architecture, depicting buildings precisely and accurately to ensure that his paintings reflected the new architectural elements in Venice. |
Legacy and influence |
Carpaccio transformed from being a member of a small furrier merchant family to being a prominent artist in Italy, with some scholars comparing his stature to Gentile Bellini. Unlike Bellini, Carpaccio worked mostly in what has been described as a more conservative-style of painting, a contrast to the growing humanist... |
Later artists produced various works in the aftermath of Carpaccio's death and were inspired by his oeuvre. For instance, Paris Bordone's The Presentation of the Ring (1534), an oil painting, echoed Carpaccio's broad compositions, accurate representation of textiles and fabrics, and representation of a gathering of a c... |
Critical reception: then and now |
Carpaccio received modest acclaim during his lifetime, only occasionally creating works for the Venetian nobility. While regular employment was scarce, he primarily served a variety of working-class patrons that consisted of sailors, artisans, and tradesmen belonging to the scuole of the Albanesi and Schiavoni. He was ... |
While assessments among historians and scholars vary, many identify Carpaccio as one of the most significant contemporaries of Giovanni Bellini. Despite residing in the shadows of his mentors, he received recognition from contemporary scholars, writers, and critics. In his accounts on perspective, the Italian diplomat ... |
Interest in Carpaccio resurged in the nineteenth century as English writer and art critic John Ruskin celebrated the Venetian painter's attention to detail. Ruskin likened Carpaccio's works to a "...magic mirror which flashes back instantly whatever it sees beautifully arranged ..." The nineteenth-century Italian paint... |
The first ever retrospective of his art outside of Italy, Vittore Carpaccio: Master Storyteller of Renaissance Venice was exhibited at Washington, D.C.'s National Gallery of Art, November 20, 2022 – February 12, 2023, with an accompanying exhibition catalog, Vittore Carpaccio: Paintings and Drawings. A comprehensive pu... |
Gallery |
Vittore Carpaccio |
References |
Footnotes |
Citations |
Further reading |
Daniele Trucco, "Vittore Carpaccio e l'esasperazione dell'orrido nell'iconografia del Rinascimento", in «Letteratura & Arte», n. 12, 2014, pp. 9–23. |
Pompeo Molmenti, Gustav Ludwig, The Life and Works of Vittorio Carpaccio (London: John Murray, Albemarle Street, W., 1907) |
Humfrey, Peter, ed., Vittore Carpaccio: Master Storyteller of Renaissance Venice. Washington, D.C.: National Gallery of Art, 2022. ISBN 9780300254471. |
External links |
vittorecarpaccio.org (150 works by Vittore Carpaccio) |
Paintings by Vittore Carpaccio |
Web Gallery of Art |
Carpaccio500. Koper Regional Museum. |
Vittore Carpaccio: Master Storyteller of Renaissance Venice, Exhibition at the National Gallery of Art, November 20, 2022 – February 12, 2023. |
"Vittore Carpaccio: Master Storyteller of Renaissance Venice" Apollo, 11 November 2022. |
Willem Claeszoon Heda (December 14, 1593/1594 – c. 1680/1682) was a Dutch Golden Age artist from the city of Haarlem devoted exclusively to the painting of still life. He is known for his innovation of the late breakfast genre of still life painting. |
Early life |
Heda was born in Haarlem, the son of the Haarlem city architect Claes Pietersz. His mother Anna Claesdr was a member of the Heda family. His uncle was the painter Cornelis Claesz Heda. Heda's early life is all but unknown, with no surviving pieces dated to that period. Judging from his date of birth, scholars have spec... |
His earliest known work was a Vanitas which fit the monochromatic and skillful texturing of his later pieces, but portrayed a subject matter distinct from the depictions of more sumptuous objects in his later years. This Vanitas, and the two other breakfast pieces by Heda in the 1620s were known for their clear deviati... |
Heda's skill was recognized early on in his career by other notable figures in Haarlem, such as Samuel Ampzing, a Dutch minister and poet from Haarlem, who captured the city in poetry. Heda won enough local fame in his own day for Ampzing to praise him in the same breath with Salomon de Bray and Pieter Claesz in his 16... |
Following his support from Samuel Ampzing, Heda became a member of the Haarlem Guild of St. Luke. |
As evidenced by his signing of a new charter to regularize the affairs of the guild on May 22, 1631, Heda was an active member of the Haarlem Guild of St. Luke. |
Maturity |
Following his formative pieces of the 1620s, Heda reached his artistic maturity in the 1630s with pieces such as his 1631 still-life Breakfast table with blackberry pie and those of the "1639 group" sold to Vienna in the 1930s. These pieces contain perfectly draped fabric and assortments of fine glass and metal wares i... |
Heda's style continued to progress with his pieces of the 1640s developing a great simplicity founded upon a "firm construction built up on broad lines." In this time, he also began to incorporate the crinkled napkin and knocked-over vases to his set of objects. This new set of objects presented a challenge to the art... |
The 1650s saw the introduction of a wider color-scheme. This change brought more fruit and curled leaves to his works, which combined with the crinkled napkins of the previous decade, resulted in a less firm character (in contrast to the glass and metal textures that he was previously known for). |
Final years |
Heda's final years saw the artist begin the transition from the late breakfast still-life paintings he helped create, to the pronk, or display, still-life pieces of Willem Kalf in Amsterdam. His last known works were painted in 1664 (Private collection, The Hague) and 1665 (Museum del Monte, Brussels), and contained th... |
Though he lived until the 1680s, Heda's last known paintings were created in the 1660s. Heda died in Haarlem in 1680 or 1682. |
Works |
Willem was a contemporary and comrade of Dirck Hals, akin to him in pictorial touch and technical execution. But Heda was more careful and finished than Hals, showing considerable skill and taste in the arrangement and colouring of his chased cups, beakers and tankards of both precious and inferior metals. Heda was als... |
As a painter of "ontbijt" or breakfast pieces, he is often compared to his contemporary Pieter Claesz. |
Popularity |
Willem Claesz Heda's skill was recognized in his own time by Samuel Ampzing, the Haarlem Guild of St. Luke, and Theodorus Schrevelius. Though Heda would clearly not be included in Het schilder-boeck of Karel van Mander, as its 1604 publishing fell before his rise to prominence, it would be expected that he would be inc... |
Houbraken's scant mention of Heda was reflected in the works of his followers, Johan van Gool and Jacob Campo Weyerman. Neither of these individuals included Heda in their respective books. |
As a result of the decline of Dutch art after the Dutch Golden Age, many countries began to ignore Dutch artworks. Jean-Baptiste Descamps a French artist who briefly studied in Antwerp became the first among modern art writers outside of the Netherlands to acknowledge the nation's artistic importance. Although Descamps... |
Heda was rediscovered by the French art critic Théophile Thoré in the 1860s. After seeing an example of his work at the Boijmans Museum in Rotterdam, Thoré praised Heda's ability to make "petite nature into a splendid celebration of life." |
Legacy |
Heda died in his native city of Haarlem in 1680 or 1682. Heda's renewed popularity in the latter half of the 19th century resulted in the dissemination of his pieces throughout the world. His works can now be found on display in some of the world's most famous museums: the Rijksmuseum, Amsterdam; the Metropolitan Museu... |
As one of the most recognized Dutch masters and one of the signature artists of the still life genre, his paintings feature in general surveys of art history as some of the highlights of Dutch seventeenth-century painting. |
His pupils include Maerten Boelema de Stomme, Gerret Willemsz Heda, Hendrik Heerschop, and Arnold van Beresteijn. |
References |
Sources |
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Heda, Willem Claasz". Encyclopædia Britannica. Vol. 13 (11th ed.). Cambridge University Press. p. 196. |
External links |
Media related to Willem Claesz. Heda at Wikimedia Commons |
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