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FAH338 Week 9

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Giancarla Periti

Week 9 Painters, guilds & trade in Venice March 4 2013 Vittore Carpaccio, Arrival of the English Ambassadors, from the cycle for the Scuola of St. Ursula, ca. 1495, Venice, Accademia Scuole=devotional confraternities. Scuola of St. Ursula; Legend of St. Ursula from the Golden Legend by Jacopo da Varagine. Sacra rappresentazione=liturgical drama. -During period in which Venice full of great artists late Bellini georgone & titian his career overlaid with careers of outstanding artists. Alternative to sensual style georgoni and titian developed and achieved. His alternative style is descriptive/eye witness style cuz he was mainly interested in rendering Venetian arch. In his own tendencies the life of venetian ppl framed w/in Venetian settings. Mainly worked for scuola in Venice confraternity of … small confraternities had there own sites were ppl gathered to pray and do other … works of art served purpose of display statues and importance of confraternity and to assist members in there devotional works. Each confraternity was dedicated to a specific saint and a scuola of th St. Ursula was a British virgin in the last decade of 15 cent. Scuola of St. Ursula decided to have oratory painted by Carpaccio. Full story abt female saint by Carpaccio who painted 9 canvases. Works are now in the academia museum in Venice don’t know how originally distributed. The way Carpaccio rendered the religious subject is she was the doctor of an English king and a young Christian girl who was suppose to marry pagan prince she agreed under 3 conditions 1.he had to be converted to Christianity 2.she was allowed to visit Rome to go on pilgrimage 3.she had to be accompanied to her pilgrimage in Rome by 11thousand gurrs. Legend recounted in golden legend. Golden legend served as a platform for which he based his paintings on. The cycle begins with English ambassadors since she was an English Christian girl. Behind the narrative within Venetian architecture. Carpaccio used 3 diff sources based his own rendering w monuments either on existing venetian monuments but also used books abt the pilgrimage in new land and he also used the sacred representacione –theatrical plays organized and set in Venice by several members of the Scuole. Scene is divided up in three diff registers. Beginning from the right to the left. Meeting btw Ursula and her father discussing within there own palace and outside is the nurse waiting for her. The central scene is arrival of ambassadors of the prince meeting with guys from British court. Setting staged in Venetian setting. Caravaggio was an artist who never adapted but totally transformed and enriches his architecture not to make Week 9 Painters, guilds & trade in Venice recognizable and easy to identify. On the right is meeting within open-air laga with ambassadors. Inside outside in a public square and on the right in open-air loga and in the background we can recognize the lagoon and boat clear Venetian setting. Both paintings by Carpaccio Proposing comparison. First one three scenes paintings w Venetian background. Carpaccio, Return of the Ambassadors, 1497, Venice, Accademia Second meeting of the return of the ambassadors is instead staged in open air. Open loga on the right in which all protagonists standing and seated dressed in Venetian contemporary costumes there is also a beautiful… staged within a Venetian setting. To downplay… Entire setting is an emacronism? Wanted to have there own city and architecture painted in the back of these scenes. Fra Carnevale, The Ideal City, ca. 1480-84, Baltimore, Walters Art Museum Carpaccio used multiple sources to reinvent his architecture there are particularities that allow us to recognize the Venetian setting, which is prescribed w/in city of Venice. Week 9 Painters, guilds & trade in Venice Architecture themselves is diff to recognize don’t correspond to printed or existing buildings. Tradition of the ideal city relates to filivetti-dealing w notion of ideal city in Milan? Power of architecture not people. Painted space fully occupied by buildings. What we recognize at center is roman arch on the left is recreation of coliseum ancient roman buildings. Recreation of baptistery in Florence on the right no an ancient roman building it was medieval but in renaissance believed baptistery raised on a roman foundation. Translated into his own painting broader discourse popular in Italy at the time both in written terms with filliarti’s treaties and then in visual terms with these paintings. Rectangular had nothing to do with custodian but with idealization of architecture, which are abt symmetric and perfect buildings. Had nothing to do with architecture in terms of contrasting a building ex stones but instead as an entity. Sequences of classical orders etc. idealization of architecture had to do with plans and design not so much labor itself. Carpaccio, Meeting of Ursula and the prince, 1497, Venice, Accademia At the center the seated youth has been identified as the son of Nicolo’ Loredan who probably commissioned the painting/series from Carpaccio therefore he is inscribed w/in the canvas. Loredan was one of the most prominent members of Scuola. Organized in two zones on the left architecture in background British architecture castles where Ursula came from and then on the right meeting on ambassadors took place in Venice. Carpaccio, Dream of St Ursula, from the Cycle for Scuola di Sant' Orsola, ca. 1495, Venice, Accademia Square painting. What we see is actually a bedroom. Translated reality of Venetian bedroom at the time with furniture window glasses etc. Ursula visited by angel on the right. Detail of monkey instead here is a little dog, which is a symbol of fidelity. Venetian ppl and setting in terms of architecture but also Venetian rooms & furniture. All dressed in contemporary Venetian costumes. Week 9 Painters, guilds & trade in Venice Venetian artist, Reception of an Ambassador in Damascus, ca. 1511, Paris, Louvre Eyewitness style. Venice imp commercial city. Center of trades and in which early on in Italy there was also an encounter w other civilizations. Oriental & near eastern civilizations. Prominent encounters. Eyewitness of life in renaissance Venice. Enigmatic work of art depicting meeting takes place btw western civilization w near eastern citizens characterized by there costumes and turbans and also by possibly diff features. Exotic architectures, Carpaccio was never there so he probably only knew abt this near eastern cities from printed books. Transformed images into something new he stresses imagination. Carpaccio & other Venetian artists offer us descriptive style rendered with imagination and fantasia. Recreate other world/civilization. Mediterranean world was expanding Columbus had discovered new land and other ppl going to China. Idea of Europe and Mediterranean world was expanding and so encounters with other civilizations and early Christianity was real it was happening he was translating encounters/global Venice was at the center of. Gentile Bellini, St. Mark preaching in Alexandria, ca. 1504-7, Milan, Brera He was part of a family of artists. Rendering religious subject w/in a setting that is oriental. Could have been city of Alexandria in Egypt. Looking closer at architecture realize Egyptian architecture is
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