Tartares and Carpaccios
by Marie-Victoire Garcia
from Hachette Illustrated UK
Carpaccio
by Peter Humfrey
from Chaucer Press
Carpaccio was the greatest early Renaissance narrative painter of the Venetian school - and this illuminating study by Peter Humfrey ably demonstrates the truth of this statement. Little is known of Vittore CarpaccioÂ’s early life, only that he was born sometime between 1455 and 1460. The dominant influences on his early work were those of Gentile Bellini and Antonello da Messina. His first known works do not appear until 1490, the date on one of the canvases in the cycle illustrating the legend of St. Ursula for the Scuola di Santa Orsola. In these celebrated works he emerged as a mature artist of originality, revealing a gift for organization, narrative skill, and a masterly command of light. Carpaccio died some time between 1523 and 1525 and was subsequently neglected for many centuries. He was rediscovered in the nineteenth century, when his precise rendering of architecture, and the luminous atmosphere of his paintings were praised by the English critic John! Ruskin.
Carpaccio: The Major Pictorial Cycles
by Stefania Mason
from Skira
The study begins with the fabled Life of St Ursula cycle (1490-c. 1498), now in the Gallerie dell'Accademia in Venice, in which Carpaccio shows his skilled handling of perspective, endowing his canvases with a mixture of recognisable townscapes and imaginary landmarks of medieval stamp, whose visual cues include personages, gestures, customs and ceremonies in a rhythmical interweaving of reality and legend. Next comes the cycle executed for the Scuola di San Giorgio degli Schiavoni (1502-c. 1507), featuring Sts George, Triphun and Jerome, in which an errant knight and a hermit saint lead the observer into a mythical Orient. The masterpiece of the series is the Vision of St Augustine, where the saint is alone in his study and the disembodied spirit of St Jerome enters by the window in the form of brilliant light illuminating the entire room with its domestic minutiae and panoply of humanistic attributes.
No longer in situ but dispersed among various museums are the last two series carried out by Carpaccio, this time with assistants: the Life of the Virgin cycle for the Scuola degli Albanesi (1502-c. 1507); and the set depicting the Life of St Stephen for the scuola dedicated to the saint (1511-20), a remarkable eulogy to stone and its manifold uses in building and sculpture (many of the confraternity's members were stonemasons). The selection of details and close analysis of Carpaccio's canvases afford a cogent visual guide and critical assessment of this great master of Renaissance painting.
Venetian Narrative Painting in the Age of Carpaccio
by Patricia Fortini Brown
from Yale University Press
Victor Carpaccio: Alla Scuola di San Giorgio degli Schiavoni in Venezia
The Art Bulletin: A Quarterly Published by The College Art Association of America: December 1984, Volume LXVI, Number 4: Cluny and St.-Denis, Venetian Masters ca. 1500, Paintings of Performers in Expressionism and De Stijl, and Other Themes
Articles: "The Iconography of the St. Andrew Auckland Cross"; "The Choir Screen of Cluny III"; "Two Campaigns in Suger's Western Block at St.-Denis"; "Realism and Symbolism in Early Flemish Painting"; "The Moors of the Clock Tower of Venice and Their Sculptor"; "Carpaccio, Saint Stephen, and the Topography of Jerusalem"; "Marcus Aurelius, Fray Antonio de Guevara, and the Ideal of the Perfect Prince in the Sixteeth Century"; "The Tightrope Walker - An Expressionist Image"; "Figures in the Dance in De Stijl"; and "Some Indian Sources in the Art of Paul Klee."
I disegni di Vittore Carpaccio (Corpus graphicum)
Carpaccio (Collana darte Paola Malipiero)
Guide to the "Scuola Dalmata" called "San Giorgio degli Schiavoni"
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