Two Venetian Ladies

Last updated
Two Venetian Ladies
Vittore Carpaccio 079.jpg
Artist Vittore Carpaccio
Yearc. 1490
Medium Oil on panel
Dimensions94 cm× 64 cm(37 in× 25 in)
Location Museo Correr, Venice

Two Venetian Ladies is an oil on panel painting by the Italian Renaissance artist Vittore Carpaccio. The painting, believed to be a quarter of the original work, was executed around 1490 and shows two unknown Venetian ladies. The top portion of the panel, called Hunting on the Lagoon is in the Getty Museum, and another matching panel is missing.

Beginning in the nineteenth century, the painting began to be interpreted as depicting two courtesans, some commentators pointing to the red chopines, or platform clogs, on the left, as supposed markers of such women, while their apparent idleness, or their low décolletage, led others to that conclusion. [1] Modern art historians think them more likely to be members of the patrician Torella family: the Torella crest appears on the vase shown on the parapet, and their fine clothes and pearl necklaces, suggest high status. The style of their gowns and personal presentation conforms to that of high-born Venetian women of the time. [1] Several objects the white kerchief, the pearls and the animals (the doves, Venus's bird) are symbols of chastity. [2] Academic debate continues, as with other similar Venetian paintings of the period. [3]

Another painted panel, now in the Getty Museum, [4] was published in 1944, and it was later realized that this is part of the same work, fitting above this part: it portrays several boats in a lagoon, and would explain the meaning of the scene, as two women awaiting their husbands' return after an expedition hunting, or fishing with cormorants, in the Venetian lagoon. [5] Another panel the same size as these two combined would have been on the left; probably the two were hinged together to make a diptych, or a folding door or shutter. [6] The Getty panel has an illusionistic letter rack painted on the back of the panel, which was presumably matched on this panel. This appears to be the earliest small-scale trompe-l'œil painting since antiquity. [1] This discovery was verified by an in-depth technical analysis, comparing the two fragmentary panels. [7]

Hunting on the Lagoon and Two Venetian ladies [photographic reconstruction] Vittore carpaccio, due dame veneziane e caccia in laguna.jpg
Hunting on the Lagoon and Two Venetian ladies [photographic reconstruction]

Related Research Articles

<span class="mw-page-title-main">Joseph Fesch</span> French priest and diplomat (1763–1839)

Joseph Cardinal Fesch, Prince of the Empire was a French priest and diplomat, who was the maternal half-uncle of Napoleon Bonaparte. In the wake of his nephew, he became Archbishop of Lyon and cardinal. He was also one of the most famous art collectors of his period, remembered for having established the Musée Fesch in Ajaccio, which remains one of the most important Napoleonic collections of art.

<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">Carlo Crivelli</span> Italian Renaissance painter (c. 1430 – c. 1495)

Carlo Crivelli was an Italian Renaissance painter of conservative Late Gothic decorative sensibility, who spent his early years in the Veneto, where he absorbed influences from the Vivarini, Squarcione, and Mantegna. He left the Veneto by 1458 and spent most of the remainder of his career in the March of Ancona, where he developed a distinctive personal style that contrasts with that of his Venetian contemporary Giovanni Bellini.

<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.

<span class="mw-page-title-main">Musée Jacquemart-André</span> Museum in Paris, France

The Musée Jacquemart-André is a private museum located at 158 Boulevard Haussmann in the 8th arrondissement of Paris. The museum was created from the private home of Édouard André (1833–1894) and Nélie Jacquemart (1841–1912) to display the art they collected during their lives.

<span class="mw-page-title-main">Lazzaro Bastiani</span> Italian painter (1429–1512)

Lazzaro Bastiani was an Italian painter of the Renaissance, active mainly in Venice.

<i>Young Knight in a Landscape</i> Painting by Vittore Carpaccio

Young Knight in a Landscape, or Portrait of a Knight, is an oil on canvas painting by the Italian Renaissance artist Vittore Carpaccio, now in the Thyssen-Bornemisza Museum in Madrid. Dated 1510, this is the earliest full-length portrait in Western painting—on the assumption that it is a portrait, as it seems likely. It is characteristic of Carpaccio that apart from this important innovation, the style of the work seems in other respects to look back to the previous century. From some time until the 20th century the painting had been given the monogram of Albrecht Dürer, and Carpaccio's signature had been overpainted. The realism and detail of Carpaccio does in fact show Northern influence.

<span class="mw-page-title-main">Master of the Life of the Virgin</span> Late Gothic German painter

The Master of the Life of the Virgin, in German the Meister des Marienlebens,, is the pseudonym given to a late Gothic German painter working in Cologne. He can also be known as the Master of Wilten, or Johann van Duyren, an identification not universally accepted.

Events from the year 1525 in art.

<span class="mw-page-title-main">Venetian painting</span> Art from the Republic of Venice

Venetian painting was a major force in Italian Renaissance painting and beyond. Beginning with the work of Giovanni Bellini and his brother Gentile Bellini and their workshops, the major artists of the Venetian school included Giorgione, Titian, Tintoretto (1518–1594), Paolo Veronese (1528–1588) and Jacopo Bassano (1510–1592) and his sons. Considered to give primacy to colour over line, the tradition of the Venetian school contrasted with the Mannerism prevalent in the rest of Italy. The Venetian style exerted great influence upon the subsequent development of Western painting.

<i>Legend of Saint Ursula</i> Painting series by Vittore Carpaccio

The Legend of Saint Ursula is a series of nine large wall-paintings on canvas by the Italian Renaissance artist Vittore Carpaccio, commissioned by the Loredan family and originally created for the Scuola di Sant'Orsola (Ursula) in Venice, which was under their patronage. They are now in the Gallerie dell'Accademia in Venice.

<i>Christ between Four Angels</i> Painting by Vittore Carpaccio

The Christ between Four Angels and the Instruments of the Passion is a painting by the Italian Renaissance master Vittore Carpaccio, executed in 1496 and now housed in the Civici musei e gallerie di storia e arte of Udine, northern Italy.

<span class="mw-page-title-main">Scuola di San Giorgio degli Schiavoni</span>

The Scuola di San Giorgio degli Schiavoni in Venice, northern Italy, was one of the city's confraternities, a scuola piccola located in the sestiere (neighborhood) of Castello, Venice. Its building has been preserved.

<i>The Sermon of St. Stephen</i> (Carpaccio) Painting by Vittore Carpaccio

The Sermon of Saint Stephen is an oil-on-canvas by Italian artist of the Venetian school Vittore Carpaccio, painted in 1514. It is now in the Louvre in Paris.

<i>Zadar Polyptych</i> Polyptych by Vittore Carpaccio

The Zadar Polyptych is an oil-on-panel by Italian artist Vittore Carpaccio, painted around 1480–1490. It is now in the Museum of Sacred Art of the Zadar Cathedral, in southern Croatia. It was commissioned by Martin Mladošić, canon, notary and archpresbyter of Nin from Zadar, for the altar of St. Martin in Zadar Cathedral.

<i>Pardo Venus</i> 1551 painting by Titian

The Pardo Venus is a painting by the Venetian artist Titian, completed in 1551 and now in the Louvre Museum. It is also known as Jupiter and Antiope, since it seems to show the story of Jupiter and Antiope from Book VI of the Metamorphoses. It is Titian's largest mythological painting, and was the first major mythological painting produced by the artist for Philip II of Spain. It was long kept in the Royal Palace of El Pardo near Madrid, hence its usual name; whether Venus is actually represented is uncertain. It later belonged to the English and French royal collections.

Save Venice Inc. is a U.S. non-profit organization dedicated to the conservation of art and architecture and the preservation of cultural heritage sites in Venice, Italy. Headquartered in New York City, it has an office in Venice, a chapter in Boston, and supporters across the United States and Europe.

<i>Still-Life with Partridge and Gauntlets</i> 1504 painting by Jacopo de Barbari

Still-Life with Partridge and Gauntlets is a 1504 painting by the Italian painter Jacopo de' Barbari. It measures 52 cm × 42.5 cm and is held by the Alte Pinakothek in Munich. The small oil-on-limewood-panel painting is considered to be one of the earliest examples of a still life painting, and one of the first trompe-l'œil paintings, to be made in Europe since classical antiquity.

<i>Madonna and Child enthroned with St. John the Baptist and St. Augustine</i> (Permeniates) Painting by Ioannis Permeniates

Madonna and Child enthroned with St. John the Baptist and St. Augustine is an oil painting by Greek painter Ioannis Permeniates. He was from Crete living in Venice. He was active during the first part of the 16th century. There are dozens of works attributed to the artist. He is a cross-over artist who painted in both the maniera greca and the Venetian style. Other similar artists were El Greco and Michael Damaskinos. Ioannis Permeniates's work was influenced by Vittore Carpaccio and Giovanni Bellini. His most notable painting is the Madonna and Child enthroned with St. John the Baptist and St. Augustine. Many Italian artists painted the same subject matter. The most famous painting depicting the subjects is the Madonna and Child with St John the Baptist and St Augustine by Petrus Perusinus. The Permeniates is part of the collection Museo Correr in Venice, Italy.

<i>Saint Mark</i> (Tzanes) Painting by Emmanuel Tzanes

Saint Mark is a tempera-on-wood painting created c. 1657 by Emmanuel Tzanes. Tzanes was a Cretan painter who migrated to Corfu and Venice. He settled in Venice with his brothers Konstantinos Tzanes and poet Marinos Tzanes. Konstantinos was a famous painter. Their combined existing works number over 150. Emmanuel replaced Greek painter Philotheos Skoufos as the priest of San Giorgio dei Greci.

References

  1. 1 2 3 McCouat, Philip (2015). "Carpaccio's double enigma: Hunting on the Lagoon and the Two Venetian Ladies". Journal of ART in SOCIETY.
  2. "Vittore Carpaccio: The works". ArteDossier. Archived from the original on 27 February 2024.(in English). Archived 30 September 2007 at the Wayback Machine (in Italian).
  3. Junkerman, Anne Christine (1993). "The Lady and the Laurel: Gender and Meaning in Giorgione's Laura" . Oxford Art Journal. 16 (1): 49–58. ISSN   0142-6540. JSTOR   1360536.
  4. "Hunting on the Lagoon (recto); Letter Rack (verso), about 1490–1495". The J. Paul Getty Museum Collection. Archived 26 September 2007 at the Wayback Machine .
  5. Knauer, Elfriede R. (September 2003). "Fishing with cormorants: A note on Vittore Carpaccio's Hunting on the Lagoon". Apollo . Vol. 158, no. 499. pp. 32–39. ISSN   0003-6536. Archived from the original on 6 September 2008.
  6. Smee, Sebastian (23 June 2021). "Mystery on a Venetian lagoon". The Washington Post.
  7. Szafran, Yvonne (March 1995). "Carpaccio's Hunting on the Lagoon: A New Perspective". The Burlington Magazine. 137 (1104): 148–158.

Further reading