User:Julestux/Vittore Carpaccio

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Vittore Carpaccio
Portrait by unknown artist, c. 1700
Bornc. 1465
Venice, Venetian Republic (present day Veneto, Italy)
Diedc. 1525 (aged around 60)
Capodistria, Slovenia
NationalityItalian · Venetian
Other namesVetor Scarpanzo · Vittore Carpatio · Vittore Carpathius
EducationBellini studio
Known forPainting · Architecture
Notable work
MovementEarly Renaissance · High Renaissance · Venetian school

Vittore Carpaccio (UK: /kɑːrˈpætʃ(i)oʊ/, US: /-ˈpɑːtʃ-/, Italian: [vitˈtoːre karˈpattʃo]; c. 1465 – 1525/1526) was an Italian painter of the Venetian school who studied under Gentile Bellini. Carpaccio was largely influenced by the style of the early Italian Reading painter Antonello da Messina (c.1430-1479), as well as Early Netherlandish painting. Although often compared to his mentor Gentile Bellini, Vittore Carpaccio’s command of perspective, precise attention to architectural detail, theme of death, and use of bold color differentiated him from other Italian Renaissance artists.[1] Carpaccio’s works ranged from singular pieces painted on canvas to altarpieces and widely-appreciated artistic series. His most well-known altarpieces, St. Thomas Aquinas Enthroned (1507), Presentation of Christ in the Temple (1510), and Martyrdom of the Ten Thousand (1515) were commissioned by churches in Venice, while the pieces following the year 1510 were primarily commissioned by citizens of a lower status in Venice.[1] His most famous work however, is a series of nine paintings, The Legend of Saint Ursula. Many of his works display the religious themes and cross-cultural elements of art at the time; his portrayal of St. Augustine in his study reflects the popularity of collecting the “exotic” and highly desired objects from different cultures.[2] Carpaccio’s artistic downfall began in 1510 as his style was perceived as too conservative and showed little influence from the Humanist trends that transformed Italian Renaissance painting during his lifetime. His inability to keep up with the artistic trends of his time, along with the fact that the majority of his best works remain in Venice today, has resulted in his art being neglected by scholars, when compared with other Venetian contemporaries such as Giovanni Bellini or Giorgione.[3]

Article body[edit]

Biography[edit]

Early life (c. 1465–1490)[edit]

Carpaccio was born in Venice (c. 1460–1465), the son of Piero Scarpazza, a Venetian furrier.[footnotes 1] Carpaccio, or Scarpazza, as the name was originally rendered, came from a family originally from Mazzorbo, an island in the diocese of Torcello. Archival documents trace the family back to at least the thirteenth century, and its members were diffused and established throughout Venice.[4] While scarce details remain about his early life, Carpaccio presumably apprenticed in the Bellini studio, developing his artistry under the guidance of Gentile Bellini and Giovanni Bellini.[1]

Although Carpaccio’s precise date of birth remains unknown, various documents have offered signs of a particular span of years. In a will from 1472, his uncle Fra Ilario listed him as an inheritor.[4] According to Venetian customs, this would have indicated that he was at least 15 at this time, suggesting a birth year before 1457.[1] However, a closer examination of Venetian law led to the discovery that children could be regarded as future heirs. Carpaccio’s birth year range was thus moved later, to circa 1460 to 1465. Another document revealed that Carpaccio continued to live with his father through 1486, signifying late adolescence by this time and confirming this later range of birth years.[1]

Completion of the principal work, The Legend of Saint Ursula (1490–1502)[edit]

Carpaccio’s principal works were executed between 1490 and 1519, ranking him among the early masters of the Venetian Renaissance. Upon entering the Humanist circles of Venice, he changed his name to Carpaccio, an Italianized form of Scarpanza. After signing an early work "Vetor Scarpanzo," he used variants of the Latin "Carpatio," "Carpathius," and "Carpaccio" for the rest of his career.[5] He was a pupil (not, as sometimes thought, the master) of Lazzaro Bastiani, who, like the Bellini and Vivarini, was the head of a large atelier in Venice.[4]

By 1490, Carpaccio developed The Legend of Saint Ursula, a collection of paintings for the Scuola di Sant’Orsola, one of the various religious confraternities in Venice. This series elevated his prominence in early Renaissance Venice, allowing him to distinguish himself as a capable, creative painter skilled in artistic narration and lighting.[6]

Detail of Presentation of Jesus in the Temple (1510)

Narrative cycles and exploration of other media (1502–1513)[edit]

Later in his career, Carpaccio completed additional narrative cycles and expanded his oeuvre. Between 1502 and 1504, he portrayed episodes from the lives of Saint Jerome and the Virgin Mary.[6] These notable works were followed by a 1507 commission to aid in adorning the Sala del Gran Consiglio in the Palazzo Ducale, a prestigious achievement in Venetian art.[6] The following year, he joined a committee established to assess the frescoes of Giorgione, which were commissioned for the Fondaco de’ Tedeschi, a trading post for German merchants.[6]

In the early 1510s, Carpaccio began to experiment with other media, particularly altarpieces and other devotional works on a smaller scale.[7] However, he experienced less success upon the rise of younger artists, such as Titian, Giorgione, and Lorenzo Lotto, whose innovative styles challenged his more conservative values. Nonetheless, he designed various altarpieces for Venetian churches, including St. Thomas Aquinas Enthroned, Presentation of Jesus in the Temple, and Martyrdom of the Ten Thousand. Despite less acclaim, he continued to paint for a more modest community of provincial customers.[7]

Artistic decline and death (1513–c. 1526)[edit]

The Carpaccio House, believed to be the later residence of Carpaccio and his sons, in Capodistria, Slovenia

Interesting to note is the decline in quality of his art towards the end of his life, specifically following his Schiavoni pieces.[3] This change in quality was obvious and noted by the artistic community then and now.[1] By contrast, the Italian Renaissance painter Giorgione made innovations in the field that Carpaccio was simply unable to match.[3] The expectations and artistic demands had changed, resulting in Carpaccio's style seeming outmoded in comparison. He never altered his style to keep up with these new innovations, solidifying his decline.[3] Carpaccio increasingly turned to the assistance of his sons Pietro and Benedetto, his principal pupils. However, he independently completed his final work, which consisted of decorating organ shutters for the Duomo at Capodistria in 1523.[8] He spent his final years in this Slovenian town, where he died between 1525 and 1526.[9]

Works of art and themes[edit]

Vittore Carpaccio, Salvator Mundi with Apostles, c. 1480. Contini-Bonacossi Collection,

Carpaccio's earliest known solo works are a Salvator Mundi (c. 1480), located in the Collezione Contini Bonacossi, part of the Uffizi Gallery, and a Pietà now in the Palazzo Pitti. In the Salvator Mundi, he included his vernacular signature, VECTOR SCARPAZO, which was later changed to Victoria Carpatio Veneti Opus (Latin)[10]. These works clearly show the influence of Antonello da Messina and Giovanni Bellini – especially in the use of light and colors – as well as the influence of the School of Ferrara and School of Forlì.


Later, Carpaccio alluded to the St. George tale in his painting, St. George Baptizing the Selenites (1507). The confrontation between the knight St. George and the dragon, a subject that was enormously popular during the Renaissance and was painted by numerous artists. According to the Golden Legend, George, a Christian knight, rescues a Libyan princess who has been offered in sacrifice to a dragon.[11] Horrified that her pagan family would do such a thing, George brings the dragon back to her town and compels them into being baptized.[11] Carpaccio's depiction of the event thus has a long history; less common is his rendition of the baptism moment. Although unusual in the history of St. George pictures, St. George Baptizing the Selenites (1507)[12] offers a good example of the type of oriental subjects were popular in Venice at the time: great care and attention is given the foreign costumes, and hats are especially significant in indicating the exotic. Note that inThe Baptism, one of the recent converts has ostentatiously placed his elaborate red-and-white, jewel-tipped turban on the ground in order to receive the sacrament. [THIS PARAGRAPH SEEMS LIKE IT IS PART OF THE ORIGINAL PAGE WITH NO MAJOR CHANGES; SO I ASSUME YOU WILL SIMPLY PASTE THE NEW STUFF YOU HAVE ADDED AROUND IT. IT DOES NEED FOOTNOTES .... IF YOU HAVE A SOURCE AND CAN FIX IT DO SO, IF NOT DON'T WORRY ABOUT IT] the para. is the same, except we added a date to the selenite piece and a citation. == OK THEN ONLY PASTE BACK IN THAT PART; I added the date to the first time the St. George Painting was referenced; do not paste things back in BOLD either -- I am simply using bold to highlight back to you all.

Fortini Brown argues that this increased interest in exotic eastern subject matter is a result of worsening relations between Venice and the Ottoman Turks: "as it became more of a threat, it also became more of an obsession."[13] His relief of the façade of the former School of the Albanians in Venice reflects this interest, as it commemorates two sieges of Shkodra in 1474 and 1478, the latter of which Sultan Mehmed II directed personally. [NO CHANGES TO THIS ORIGINAL PARAGRAPH, RIGHT?]--- correct == then leave here and do not change in the main page; only paste things you have changed. If there are spelling errors you fixed, do fix those in the main space.

St. Augustine in His Study
The Flight into Egypt (1500)

In 1502, Vittore Carpaccio's depiction of Saint Augustine in the painting entitlted St. Augustine in His Study situates the saint in an idealized interior domestic space, alluding to contemporary practices and the art of collecting during the Renaissance period.[2] This painting showcases how objects associated with collecting are meant to spill out within a space and between the rooms of a house.[2] On the left wall of the painting; sculptures, Etruscan vases, and a Mamluk metalwork candlestick are displayed beneath the upper shelf, referencing objects that were highly sought after during that time and valued in Renaissance art collecting.[2]

Around the same time, from 1501–1507, he worked in the Doge's Palace, together with Giovanni Bellini, in decorating of the Hall of the Great Council. Like many other major works, the cycle was entirely lost in the disastrous fire of 1577. [no changes, right? then do not move over]

The cycle of Life of the Virgin for Scuola degli Albanesi[14] 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.

From 1507 to 1508, Carpaccio executed the work, St. Tryphonius Exorcizing the Demon, a lower quality than his other works and seemed to imitate his St. Ursula series, holding no new ideas or creativity. [1]

In later years, Carpaccio appears to have been influenced by Cima da Conegliano, as evidenced in the Death of the Virgin from 1508, at Ferrara.[15] In 1510, Carpaccio executed the panels of Lamentation on the Dead Christ and The Meditation on the Passion, where the sense of bitter sorrow found in such works by Mantegna is backed by extensive use of allegorical symbolism. A theme of death is apparent, especially in The Meditation on the Passion, as Christ's body sits on a throne with pseudo-Hebrew inscriptions. [16] In the background sit leafless trees, crumbling buildings, and a dry, desert ground-- all alluding to the theme of death. [16] During the same year, 1510, Carpaccio painted Young Knight in a Landscape, now located in the Thyssen-Bornemisza Collection of Madrid.

In 1516, he painted a Sacra Conversatione painting in then Venetian town of Capodistria (known today as Koper in Slovenia), which hangs now in theCathedral of the Assumption. Carpaccio created several more works in Capodistria, where he spent the last years of his life and died.[17] [NO CHANGES TO THIS ORIGINAL PARAGRAPH, RIGHT? HOWEVER I FIXED A HYPERLINK HERE -- I have bolded above what I did; paste it over but not in bold]

Between 1511 and 1520 he finished five panels on the Life of St. Stephen for the Scuola di Santo Stefano. 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. [NO CHANGES TO THIS ORIGINAL PARAGRAPH, RIGHT?]

Carpaccio's Madonna and Child with Two Saints (c.1485-1510) was destroyed during World War II. It was stored in a flak tower in Berlin for safe keeping, but in May 1945, the tower was set on fire and most of the object inside were destroyed.[18] [NO CHANGES TO THIS ORIGINAL PARAGRAPH, RIGHT?]-- correct

Artistic series[edit]

Martyrdom of the Pilgrims and the Funeral of St. Ursula 1490-94
Dream of St. Ursula 1490-94

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.[4] The Sculola di Sant'Orsola was a well established confraternity where many individuals across the social spectrum would come together and engage in the work of saving their souls.[19] The subject of the works, which are now in the Gallerie dell'Accademia, was drawn from the Golden Legend of Jacopo da Varagine.[11] The legend revolves around the cult of 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 Christ, with Ursula at their head and twenty thousand Christians by their side, would be massacred by the Germans upon their arrival in Cologne after coming from the island of Britain due to their legion and profession.[20] Carpaccio was greatly inspired by the legend, especially its themes of massacre and chronology that brought the story to life.[20]

The series of paintings expresses a fantastical tone that is reminiscent of Giovanni Bellini and Gentile Bellini. [1] 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 rapidly. [1] Interestingly, Carpaccio's use of perspective, depth, and dimension were key points of improvement throughout his series, as observed by various art historians. [1] The most notable paintings in The Legend of Saint Ursula are the Arrival of St. Ursula at Cologne (1490; Venice) and the Departure of St. Ursula (1495; Venice). The Arrival of St. Ursula recalls the work of Jacopo Bellini in its elemental treatment of light and atmosphere[4]. By 1495, in the Departure of St. Ursula, the largest canvas of the series, his treatment of color, geometric perspective, and figural composition would reflect his careful study and mastery over Venetian narrative art form. [4] The piece illustrates a town teeming with people while simultaneously flaunting splendor by including marbles, expensive fabrics, and architecture inspired by the eastern Mediterranean. [1] The Dream of St. Ursula (1490; Venice) is another notable canvas in the series as Carpaccio is telling a story of heavenly love where St. Ursula will be visited by an angel in her dream that will tell her she will die and become a martyr of Christ. [20]

In the opening decade of the sixteenth century, Carpaccio embarked on the works that have since awarded him the distinction as the foremost orientalist painter of his age.[21] From 1502 to about 1508, Carpaccio executed another notable series of panels for the Scuola di San Giorgio degli Schiavoni which served one of Venice's immigrant communities (Schiavoni meaning "Slavs" in Venetian dialect).[4] Unlike the slightly old-fashioned use of a continuous narrative sequence found in the St. Ursula series wherein the main characters appear multiple times within each canvas, each work in the Schiavoni series concentrates on a single episode in the lives of the Dalmatian's three patron Saints: St. Jerome, St. George and St. Trifon.[1] Jerome Leading the Lion into the Monastery (1509) introduces a humorous, intimate mood, which was generally unseen in Italian Renaissance artwork. [1] These works are thought of as "orientalist" because they offer evidence of a new fascination with the Levant: a distinctly middle-eastern looking landscape takes an increasing role in the images as the backdrop to the religious scenes.[2] Moreover, several of the scenes deal directly with cross-cultural issues, such as translation and conversion.[2]

Saint Ursula Altarpiece Polyptich 1495-99

Altarpieces[edit]

In 1491, he completed the Glory of St. Ursula altarpiece.[ADD FOOTNOTE TO PREVIOUS SENTENCE] Indeed, many of Carpaccio's major works were of this type: large scale detachable wall paintings for the halls of Venetian scuole, which were charitable and social confraternities. [ADD FOOTNOTE TO PREVIOUS SENTENCE] Three years later, in 1494, he took part in the decoration of the Scuola Grande di San Giovanni Evangelista, painting the Miracle of the Relic of the Cross at the Ponte di Rialto. [ADD FOOTNOTE TO PREVIOUS SENTENCE] -- SHOULD THIS ENTIRE PARAGRAPH BE MOVED BELOW, UNDER ALTARPIECES??-- this paragraph is copied from the original, so we don't know where the info was gathered from. = Then do not do anything to it in the main page.

Carpaccio's altarpieces: St. Thomas Aquinas Enthroned (1507), Presentation of Christ in the Temple (1510), and Martyrdom of the Ten Thousand (1515) were commissioned by Venice churches. The commissioning church of St. Thomas Aquinas Enthroned (1507) is unknown, however, Presentation of Christ in the Temple (1510) was commissioned for the church of San Giobbe[22], and Martyrdom of the Ten Thousand (1515) for the church of San Giorgio Maggiore. [22] After 1510, he painted for patrons in his province, sending his altarpieces to patrons in cities across the country. He was mostly commissioned in his province by people of a lower social status.[1] His altarpieces, however, were not his best works, as they appeared unnatural and not fluid compared to the most influential altarpieces of the time. [23]

Style[edit]

An interesting stylistic choice in Carpaccio's oeuvre includes that fact that he was one of the first artists to include a cartellino nonchalantly 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.[10]

In comparison to his mentor Giovanni Bellini, Carpaccio's works are overall less defined.[1] Considered untraditional at the time, Carpaccio painted his altarpieces on canvas.[1] In addition, he carried out thin priming, which resulted in his works giving off a more spirited, bold look. [1]

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.[24] 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.[24] In The Death of St. Jerome (1502), a second vanishing point was included below the primary one on the body of the saint. [24] The effect was that the primary vanishing point broadcasted imagery away from the observer, while the vanishing point below brought the imagery towards the observer. [24] Carpaccio makes clear his command on depth through his use of the vanishing point.[24]

Carpaccio paid special attention to architecture, making sure his paintings reflected new architectural updates in Venice.[25] He is sometimes compared to an architect, as his depiction of buildings is very precise and accurate.[25]

Legacy and influence[edit]

Milk-glass tumbler from Murano, inspired by Carpaccio's Two Venetian Ladies

Carpaccio transformed from being a member of a small leatherwork merchant family to being one of the most prominent artists in Italy, with some comparing his stature to the great Gentile Bellini.[26] At an early age, Carpaccio's attention to detail in his works of art especially illustrated his talent, setting the stage for him to be an important figure in the future. During his early life, Carpaccio most likely trained and practiced in the Bellini studio, working with master artists such as Gentile and Giovanni Bellini.[27] Unlike Bellini, Carpaccio worked mostly on conservative paintings, a contrast to the growing Humanist tendencies that were a prominent influence on other painters in Italy during his lifetime.[28] His most famous piece is The Legend of St. Ursula, depicting the famous story of the martyred saint, which continued his artistic style of conservative, yet still illuminated what he is most prominent for: Orientalism. [29] The unfortunate prominence of very famous Venetian painters such as Bellini and Giogione limited his career and popularity at the time, although he still became one of the most revered artists in Italy in conservative art, making commissions of his pieces in high demand. [30]

Carpaccio’s work continues to be enjoyed by contemporary audiences, gracing commodities from postcards to calendars nearly five hundred years after his death.[6] More notably, his depiction of Venetian architecture and everyday life has greatly contributed to modern historians’ conception of fifteenth-century Venetian culture.[6] Most of Carpaccio’s works have been relocated and are now displayed in the Galleria dell’Accademia in Venice.[6] Only one complete collection of paintings remains intact, which can be found along the walls of the Scuola di San Giorgio delgo Schiavoni.[6]

Later artists produced various works in the aftermath of Carpaccio’s death and were inspired by his oeuvre. For instance, Paris Bordone's 1534 oil painting The Presentation of the Ring echoed Carpaccio’s broad composition, acute representation of fabrics, and recurrent gathering of a confraternity.[6] To a greater extent, Carpaccio left an impression on the glassware industry of sixteenth-century Murano.[31] Collections of milk-glass tumblers, especially those crafted to celebrate engagements, drew heavily from Two Venetian Ladies when depicting brides.[31]

Critical reception[edit]

Portrait of Carpaccio by Giorgio Vasari, 1568

Carpaccio received modest acclaim during his lifetime, only occasionally creating works for the Venetian nobility.[1] 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.[1] He was also commissioned to create mainland works for Bergamo’s parish church of Grumello de’ Zanchi and a scuole in Udine. Outside of Venice, he received support from a few distinguished families, such as the della Rovere of Urbino.[1]

While assessments among historians and art critics vary, many identify Carpaccio as one of the most significant peers of Giovanni Bellini.[1] Despite residing in the shadows of his mentors, he has received recognition from scholars, writers, and critics in his own right.[1] Italian diplomat and architect Daniele Barbaro fondly referenced Carpaccio's works in his accounts on perspective.[1] Similarly, in Giorgio Vasari’s 1568 series Le vite de’ più eccellenti pittori, scultori e architettori (The Lives of the Most Excellent Painters, Sculptors, and Architects), Carpaccio appeared at the forefront of a list of Venetian painters.[footnotes 2] This decision distinguished his artistic reputation from other painters in northern Italy.[6]

Interest in Carpaccio resurged in the nineteenth century as English writer and art critic John Ruskin celebrated the Venetian painter’s attention to detail.[6] Ruskin likened Carpaccio’s works to a “...magic mirror which flashes back instantly whatever it sees beautifully arranged...” Italian painter Pompeo Marino Molmenti held a similarly high view, regarding Carpaccio as “...the most truthful chronicler of a people living in the full meridian of their glory.”[6] In the twentieth century, increased recognition of Carpaccio’s works culminated in a 1963 exhibition that took place in the Doge’s Palace in Venice.[1]

References[edit]

Footnotes[edit]

  1. ^ The occupation of Carpaccio's father has remained debated, spanning from a leather merchant to a fisherman and boat builder. However, scholars have alternatively identified involvement in furriery. According to Peter Humfrey, the emeritus professor of art history at the University of St. Andrews, "Vittore was the son of Pietro Scarpazza, a Venetian furrier."
  2. ^ Depictions of Carpaccio are both scarce and tentative. He may have included a self-portrait in the Disputation of St. Stephen and has been mistaken to be the subject of Vittore Greco's Portrait of a Man. A more definite portrayal, Portrait of Carpaccio, can be found in Vasari's Vite of 1568.

Citations[edit]

  1. ^ a b c d e f g h i j k l m n o p q r s t u v w x Humfrey, Peter (2003). "Carpaccio Family". Oxford Art Online – via Oxford Art Online.
  2. ^ a b c d e f Christian, Kathleen; Clark, Leah (2017). European Art and the Wider World 1350-1550. Manchester University Press. pp. 101–128. ISBN 9781526122902.
  3. ^ a b c d Skira, Albert (1958). The Taste of Our Time. Cleveland 8, Ohio: The World Publishing Company. pp. 78–79.{{cite book}}: CS1 maint: location (link)
  4. ^ a b c d e f g  One or more of the preceding sentences incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Carpaccio, Vittorio". Encyclopædia Britannica. Vol. 5 (11th ed.). Cambridge University Press. p. 382.
  5. ^ "Artist Info".
  6. ^ a b c d e f g h i j k l Patricia., Fortini-Brown, (1994). Venetian narrative painting in the age of Carpaccio. Yale University Press. ISBN 0-300-04025-3. OCLC 442728120.{{cite book}}: CS1 maint: extra punctuation (link) CS1 maint: multiple names: authors list (link)
  7. ^ a b 1793-1865., Eastlake, Charles Lock, Sir, (2011). The travel notebooks of Sir Charles Eastlake. The Walpole Society. OCLC 1008092073. {{cite book}}: |last= has numeric name (help)CS1 maint: extra punctuation (link) CS1 maint: multiple names: authors list (link)
  8. ^ D'Addio, Sophia (2020). Painted Organ Shutters in Renaissance Italy (Thesis). Columbia University. doi:10.7916/d8-ym57-tp81.
  9. ^ CAMPBELL, CAROLINE (2015). "Carpaccio: Conegliano". The Burlington Magazine. 157 (1347): 433–435. ISSN 0007-6287.
  10. ^ a b Matthew, Louisa C. (1998). "The Painter's Presence: Signatures in Venetian Renaissance Pictures". The Art Bulletin. 80 (4): 616–648. doi:10.2307/3051316. ISSN 0004-3079.
  11. ^ a b c Jacobus de Voraigine, The Golden Legend: Readings on the Saints, tr. William Granger Ryan, Vol I (Princeton University Press, 1993), p. 240.
  12. ^ "The Baptism of the Selenites by CARPACCIO, Vittore". www.wga.hu. Retrieved 2022-12-03.
  13. ^ Fortnini Brown, p. 69.
  14. ^ Kathleen Kuiper (February 1, 2010), The 100 Most Influential Painters & Sculptors of the Renaissance (I ed.), Rosen Education Service, pp. 171–172, ISBN 978-1615300044
  15. ^  One or more of the preceding sentences incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Carpaccio, Vittorio". Encyclopædia Britannica. Vol. 5 (11th ed.). Cambridge University Press. p. 382.
  16. ^ a b The Meditation on the Passion. Italy, 1490, https://www.metmuseum.org/art/collection/search/435851. Accessed 10 Nov. 2022.
  17. ^ "Leto Vittoreja Carpaccia, spomin na čas, ko je Koper veljal za "istrske Atene"" [The Year of Vittore Carpaccio, the Memory of Time when Koper Was Considered the "Athens of Istria"] (in Slovenian). MMC RTV Slovenija. 5 February 2016.
  18. ^ Flakturm (flaktower) Friedrichshain, NGA, Washington
  19. ^ Rodini, Elizabeth (2013). "The Politics of Marriage in Carpaccio's St. Ursula Cycle". Early Modern Women. 8: 87.
  20. ^ a b c Molmenti, Pompeo; Ludwig, Gustav (1907). The Life and Works of Vittorio Carpaccio. Translated by Hobart Cust, Robert H. Albemarle Street, W.: London, J. Murray, 1907. p. 79.
  21. ^ Fortini Brown, p. 69.
  22. ^ a b "Altarpieces in or from Venetian churches". www.wga.hu. Retrieved 2022-12-03.
  23. ^ "Artist Info". www.nga.gov. Retrieved 2022-11-21.
  24. ^ a b c d e Skira, Albert (1958). The Taste of Our Time. Cleveland 8, Ohio: The World Publishing Company. pp. 69–70.{{cite book}}: CS1 maint: location (link)
  25. ^ a b Skira, Albert (1958). The Taste of Our Time. Cleveland 8, Ohio: The World Publishing Company. p. 44.{{cite book}}: CS1 maint: location (link)
  26. ^ "Artist Info". www.nga.gov. Retrieved 2022-12-06.
  27. ^ "Attributed to Benedetto Carpaccio". The Morgan Library & Museum. 2014-08-20. Retrieved 2022-12-06.
  28. ^ "Artist Info". www.nga.gov. Retrieved 2022-12-06.
  29. ^ "Attributed to Benedetto Carpaccio". The Morgan Library & Museum. 2014-08-20. Retrieved 2022-12-06.
  30. ^ "Attributed to Benedetto Carpaccio". The Morgan Library & Museum. 2014-08-20. Retrieved 2022-12-06.
  31. ^ a b E., Mack, Rosamond (2002). Bazaar to piazza : Islamic trade and Italian art, 1300-1600. University of California Press. ISBN 0-520-22131-1. OCLC 473077980.{{cite book}}: CS1 maint: multiple names: authors list (link)
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