Alvise Vivarini

Last updated • 2 min readFrom Wikipedia, The Free Encyclopedia
Alvise Vivarini: Retable of the Pentecost (Bode-Museum, Berlin) Vivarini Pfingstretabel.jpg
Alvise Vivarini: Retable of the Pentecost (Bode-Museum, Berlin)

Alvise or Luigi Vivarini (1442/1453–1503/1505) was an Italian painter, the leading Venetian artist before Giovanni Bellini. Like Bellini, he was part of a dynasty of painters. His father was Antonio Vivarini and his uncle, with whom he may have trained, was Bartolomeo Vivarini. Another uncle, on his mother's side, was the artist known as Giovanni d'Alemagna, who worked with his brother-in-law Antonio. Alvise may have trained Jacopo de' Barbari.

Contents

It has sometimes been supposed that, besides the Luigi who was the latest of this pictorial family, there had also been another Luigi who was the earliest (i.e. Antonio's father), this supposition being founded on the fact that one picture is signed with the name, with the date 1414. There is good ground, however, for considering this date to be a forgery of a later time. [1]

The works of Vivarini show an advance on those of his predecessors, and some of them are productions of high attainment; one of the best was executed for the Scuola di San Girolamo in Venice, representing the saint caressing his lion, and some monks decamping in terror. The architecture and perspective in this work are superior. [1]

Many churches in Venice have examples. Other works by Vivarini are in Treviso, Milan and the National Gallery, London. He painted some remarkable portraits. [1]

The Adoration of Christ dated 1476, in the sacristy of the church of Montefiorentino, is one of his early productions. In 1480 he painted a Virgin and Saints for San Francesco, Treviso, now in the Venice Accademia. To about this date belong the SS. Matthew and John the Baptist, in the same collection; and the fresco of Christ Carrying His Cross in Santi Giovanni e Paolo. In 1488, Alvise Vivarini wrote a letter to the Signory of Venice, requesting permission to share with Bellini in the commission to decorate the Hall of Great Council in the Doge's Palace. To this he received a favorable reply, and thereupon executed two paintings, which were burned in the fire of 1577. The subjects, Vasari tells us, were Otho promising to mediate between Venice and Barbarossa and Barbarossa receiving his Son. The Council were so pleased with the pictures that, in 1492, Alvise was named Depentor in Gran Conseio, with a salary of five ducats a month. Notwithstanding this work for the State, he continued to paint altar-pieces for private patrons. The Apotheosis of St. Ambrose (1503) in the Cappella Milimesi of the Frari, Venice, was probably the last production of Alvise, as the inscription tells us that it was completed after his death by Marco Basaiti, one of his pupils. [2]

Related Research Articles

<span class="mw-page-title-main">Giovanni Bellini</span> 15th- and 16th-century Italian Renaissance painter

Giovanni Bellini was an Italian Renaissance painter, probably the best known of the Bellini family of Venetian painters. He was raised in the household of Jacopo Bellini, formerly thought to have been his father, but now that familial generational relationship is questioned. An older brother, Gentile Bellini was more highly regarded than Giovanni during his lifetime, but the reverse is true today. His brother-in-law was Andrea Mantegna.

<span class="mw-page-title-main">Lorenzo Lotto</span> Italian painter (c. 1480–1556/57)

Lorenzo Lotto was an Italian painter, draughtsman, and illustrator, traditionally placed in the Venetian school, though much of his career was spent in other north Italian cities. He painted mainly altarpieces, religious subjects and portraits. He was active during the High Renaissance and the first half of the Mannerist period, but his work maintained a generally similar High Renaissance style throughout his career, although his nervous and eccentric posings and distortions represented a transitional stage to the Florentine and Roman Mannerists.

<span class="mw-page-title-main">Santa Maria Gloriosa dei Frari</span> Church in Venice, Italy

The Basilica di Santa Maria Gloriosa dei Frari, commonly abbreviated to the Frari, is a church located in the Campo dei Frari at the heart of the San Polo district of Venice, Italy. It is the largest church in the city and it has the status of a minor basilica. The church is dedicated to the Assumption of Mary.

<span class="mw-page-title-main">Santi Giovanni e Paolo, Venice</span> Church in Venice, Italy

The Basilica dei Santi Giovanni e Paolo, known in Venetian as San Zanipolo, is a church in the Castello sestiere of Venice, Italy.

<span class="mw-page-title-main">Vittore Carpaccio</span> 15th and 16th-century Italian painter

Vittore Carpaccio (UK: /kɑːrˈpætʃ oʊ/, US: /-ˈpɑːtʃ-/, Italian: [vitˈtoːre karˈpattʃo]; was an Italian painter of the Venetian school who studied under Gentile Bellini. Carpaccio was largely influenced by the style of the early Italian Renaissance painter Antonello da Messina, 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, themes of death, and use of bold color differentiated him from other Italian Renaissance artists. 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 from 1502, reflects the popularity of collecting "exotic" and highly desired objects from different cultures.

<span class="mw-page-title-main">Bartolomeo Montagna</span> Italian painter (c. 1450–1523)

BartolomeoMontagna was an Italian Renaissance painter who mainly worked in Vicenza. He also produced works in Venice, Verona, and Padua. He is most famous for his many Madonnas and his works are known for their soft figures and depiction of eccentric marble architecture. He is considered to be heavily influenced by Giovanni Bellini, in whose workshop he might have worked around 1470. Benedetto Montagna, a productive engraver, was his son and pupil and active until about 1540. He was mentioned in Vasari's Lives as a student of Andrea Mantegna but this is widely contested by art historians.

<span class="mw-page-title-main">Antonio Vivarini</span> Italian painter

Antonio Vivarini was an Italian painter of the early Renaissance-late Gothic period, who worked mostly in the Republic of Venice. He is probably the earliest of a family of painters, which was descended from a family of glassworkers active in Murano. The painting dynasty included his younger brother Bartolomeo and Antonio's son Alvise Vivarini.

<span class="mw-page-title-main">Bartolomeo Vivarini</span> Italian painter

Bartolomeo or Bartolommeo Vivarini was an Italian Renaissance painter, known to have worked from 1450 to 1499.

<span class="mw-page-title-main">Cima da Conegliano</span> Italian Renaissance painter (c. 1459 – c. 1517)

Giovanni Battista Cima, also called Cima da Conegliano, was an Italian Renaissance painter, who mostly worked in Venice. He can be considered part of the Venetian school, though he was also influenced by Antonello da Messina, in the emphasis he gives to landscape backgrounds and the tranquil atmosphere of his works.

<span class="mw-page-title-main">Marco Basaiti</span> Italian painter

Marco Basaiti was a Venetian painter of the Renaissance who worked mainly in Venice and was a contemporary of Giovanni Bellini and Cima da Conegliano. He has been referred to by several names including Marco Baxaiti, Marcus Basitus, and Marcus Baxiti. There is little documentation on Marco Basaiti besides his painting signatures and a guild's ledger of 1530 that records him as a painter of figures.

<span class="mw-page-title-main">Vivarini</span> Surname list

Vivarini is the surname of a family of painters from Murano (Venice), who produced a great quantity of work in Venice and its neighborhood in the 15th century, leading on to that phase of the school which is represented by Carpaccio and the Bellini family.

<span class="mw-page-title-main">Jacopo de' Barbari</span> Italian painter and engraver (1460-1516)

Jacopo de' Barbari, sometimes known or referred to as de'Barbari, de Barberi, de Barbari, Barbaro, Barberino, Barbarigo or Barberigo, was an Italian painter, printmaker and miniaturist with a highly individual style. He moved from Venice to Germany in 1500, thus becoming the first Italian Renaissance artist of stature to work in Northern Europe. His few surviving paintings include the first known example of trompe-l'œil since antiquity. His twenty-nine engravings and three very large woodcuts were also highly influential.

The decade of the 1440s in art involved some significant events.

<span class="mw-page-title-main">San Giovanni in Bragora</span>

San Giovanni in Bragora is a church in Venice, Italy, located in the sestiere of Castello.

<span class="mw-page-title-main">Cristoforo Caselli</span> Italian painter

Cristoforo Caselli, also known as da Parma or il Temperello, was an Italian painter of the Renaissance period.

<span class="mw-page-title-main">Palma Vecchio</span> Italian painter (c.1480–1528)

Palma Vecchio, born Jacopo Palma, also known as Jacopo Negretti, was a Venetian painter of the Italian High Renaissance. He is called Palma Vecchio in English and Palma il Vecchio in Italian to distinguish him from Palma il Giovane, his great-nephew, who was also a painter.

<i>San Zaccaria Altarpiece</i> Altarpiece by Giovanni Bellini

The San Zaccaria Altarpiece is a painting by the Italian Renaissance painter Giovanni Bellini, executed in 1505 and located in the church of San Zaccaria, Venice.

<i>Lamentation over the Dead Christ</i> (Bellini, Florence) Painting by Giovanni Bellini

Lamentation over the Dead Christ is a c. 1500 tempera-on-panel painting by the Italian Renaissance master Giovanni Bellini kept at the Uffizi Gallery in Florence.

References

  1. 1 2 3 Wikisource-logo.svg One or more of the preceding sentences incorporates text from a publication now in the public domain :  Rossetti, William Michael (1911). "Vivarini s.v. Luigi or Alvise Vivarini". In Chisholm, Hugh (ed.). Encyclopædia Britannica . Vol. 28 (11th ed.). Cambridge University Press. p. 152.
  2. Freedberg, Sydney J. Painting in Italy, 1500–1600, p. 169, 3rd edn. 1993, Yale, ISBN   0300055870
  3. "Saint John the Baptist". Museo Nacional Thyssen-Bornemisza. Retrieved June 11, 2020.

Sources