Venetian painting

from Wikipedia, the free encyclopedia
Paolo Veronese : Juno showered Venice with gifts , 365 × 147 cm, oil on canvas, ceiling painting in the Doge's Palace , Venice, ca.1553

The Venetian painting , also sometimes called Venetian School , created and deployed on the territory of the Republic of Venice . It had its first great heyday in the late 15th and 16th centuries with the artists Giovanni Bellini , Tizian , Giorgione , Veronese and Tintoretto , who with their painterly style, the emphasis on color ( colorito alla veneziana ) in contrast to the drawing ( disegno ) and the modeling use of light and shadow stood in opposition to the art centers of Florence and Rome on the one hand, and on the other hand had a strong influence on the development of art internationally and for centuries. Painting experienced a second and final heyday in Venice in the 18th century, also with international success.

Not all painters of the Venetian school came from Venice themselves and some important artistic impulses came from foreign artists who only worked temporarily in the lagoon city.

history

Byzantine Heritage and Gothic, 13th-early 15th centuries

Lorenzo Veneziano : Madonna and Child with Goldfinch and two donors , around 1360–1365, tempera and gold on wood, 108.3 × 65.7 cm. Metropolitan Museum , New York

In the history of art , the date of origin is set in the 13th to the early 14th century. Until well into the 14th century, Venetian art was strongly influenced by Byzantine culture and its formalism. Newer tendencies from mainland Italy, especially the art of Giotto , who painted the arena chapel in Padua nearby , were initially not accepted at all or only very hesitantly. Also on the mystical s gold ground and the use of plenty of gold jewelry elements was detained for a long time.

The first important painter was Paolo Veneziano , who modified the Byzantine style with Gothic elements, and in 1345, together with his sons Luca and Giovanni, painted the Pala Feriale, intended for the weekdays as a cover for the Pala d'Oro in St. Mark's Basilica (Museo Marciano, Venice).

Lorenzo Veneziano was the most important painter of Venice in the second half of the Trecento and perhaps a pupil of Paolo. With him the Gothic elegance emerges even more strongly.

Guariento was under the influence of Giotto's Paduan frescoes , who from 1365 to 1368 painted the largest fresco in the Sala del Maggior Consiglio in the Doge's Palace , a coronation of Mary , which was also known as Paradise and immediately made the painter famous. However, it was destroyed in the fire of 1577 and is only preserved in rudiments. There is also evidence that Giovanni da Bologna (approx. 1340 - approx. 1393) worked in Venice between 1377 and 1389. Other Venetian artists of the time were Catarino, Nicolò Semitecolo and Stefano Plebanus.

Jacobello del Fiore : The Lion of San Marco , ca.1420 (?)

With the beginning of the expansion of the republic to the mainland ( terraferma ) and the expansion of trade routes into northern Europe, there was an exchange of artists and innovations in painting, and from the end of the 14th century elements of international Gothic and soft Style integrated into Venetian painting. The city became an important center of this style.

Starting in 1409, a number of important artists were called to Venice to work on the spectacular and then famous painting design of the Sala del Maggior Consiglio (" Sala nova ") in the Doge's Palace, which tragically was lost in the fire of 1577 and then through works by Tintoretto, Veronese et al. a. was replaced. The painters involved included Gentile da Fabriano (at least 1408 to 1409), Michelino da Besozzo (1408 to 1415), Pisanello and Jacobello del Fiore . The latter created, among other things, the archetype of the famous lion, the symbol of the Republic of Venice, in 1415; Jacobello was probably the “court painter” of the Doges. Other late Gothic painters were Nicolò di Pietro and Michele Giambono . Gentile da Fabriano also indirectly played an important role in the further development of Venetian art, since he was the teacher of Jacopo Bellini in Florence and Rome in the 1420s .

Early Renaissance, 15th century

The 15th century was mainly shaped by two families of painters who lived the transition from Gothic to Renaissance : the more conservative Vivarinis from Murano with Antonio , Bartolomeo and Alvise Vivarini , and the Bellinis, with Jacopo and his sons Gentile and Giovanni .

Giovanni Bellini : Pala of San Giobbe , oil on panel, around 1480, Venice

The Florentine painter Andrea del Castagno with his frescoes painted in San Zaccaria in 1442 and the sculptor Donatello , who also came from Florence and lived in Venice from 1443 to 1453, played an important mediating role in the move towards the Renaissance . Andrea Mantegna worked with Antonio Vivarini in Padua, and later with Giovanni Bellini, whose brother-in-law he became in 1453 when he married Jacopo Bellini's daughter Nicolosia. Mantegna lived in the lagoon city until around 1460.

Stylistically, the early Venetian Renaissance is characterized by realism and echoes of antiquity, by a rather austere, strict, brittle style with clear, sharply defined contours, folds and dark shadows - similar to the artists of the Ferrara school , but not quite as hard as at Mantegna.

Gentile and Giovanni Bellini soon rose to be among the leading painters in Venice. Gentile mainly with frescoes and historical pictures from the history of the city. His portraits were so valued that he was sent to Constantinople to paint Sultan Mehmed II and his court. A little later, Vittore Carpaccio followed in Gentile's footsteps as a history painter .

The stay of Antonello da Messina around 1474 to 1476, who was responsible for the introduction of the oil technique , was of particular importance for the development of Venetian painting . The first Venetian to try the new technique is Bartolomeo Vivarini, but the first great master was Giovanni Bellini, who in the meantime surpassed all other painters anyway, especially in the religious field. He was very open to innovations, developed a virtuoso technique and laid the basis for the character of Venetian painting of the High Renaissance and the 16th century. His style developed from an initial rigor to ever softer lines, naturalness and realism, and he began to model his pictures with the help of light and shadow and already went in the direction of Giorgione, from whom he adopted further innovations in his later work. In addition, Giovanni Bellini's art is filled with lyrical, friendly and light-filled moods, even if his figures remain hieratically solemn and his landscapes are allegorically and symbolically coded. Probably under Bellini's influence, the painting of his rival, Vivarini, softened a little. It was no coincidence that Giovanni Bellini was “still the best in painting” for Albrecht Dürer on his second trip to Venice in 1506, and only shortly before he was described by Marin Sanudo as “the most outstanding painter in Italy”.

Giovanni Bellini's students include Titian and possibly Lorenzo Lotto and Sebastiano del Piombo . Cima da Conegliano , who lived in Venice from 1492, was a Bellini- Epigone , as was Marco Basaiti .

16th Century

“ Typical of the Venetian painting schools is the sensual play of forms, the great importance of color and an extraordinary feeling for light, which gives the landscapes something poetic and elegant. "

- Michelin: Venetian Painting: A World of Light and Color
Giorgione and / or Titian: Pastorale (rural concert), 1511–12, Louvre , Paris

In the first decade after 1500, Giorgione, built into a myth by art history, was the driving force of the High Renaissance, although his (former) fresco decoration at the Fondaco dei Tedeschi was the only important public commission he carried out in his short life in Venice. He introduced new techniques in oil painting, which should be typical of the Venetian painting and were attacked from outside in part: He worked without a sketch, the developed color from dark to light, and is by Leonardo da Vinci , the sfumato have assumed that however Giovanni Bellini had already used it to a certain extent, but without blurring the contours . With Giorgione, color and light play the main role, the contours of the figures, people and nature are fused into a poetic unit. The mood plays at least as important a role as the faithful depiction of nature.

In addition to religious works and portraits, mythological themes - often with an erotic undertone - are becoming increasingly important.

After the deaths of Giovanni Bellini and Giorgione , Titian from Pieve di Cadore quickly rose to become the most important and powerful painter in the republic. His classic, harmoniously balanced painting of consistently noble and powerful character shaped an entire age. His imaginative compositions are always very natural. His style changed fundamentally in his long life: early works are characterized by bright colors and great clarity that are still reminiscent of Bellini. Particularly influential examples of this phase are Titian's Maria Assunta (1516–18) and the Pesaro Madonna (1522–26), both in the church of Santa Maria Gloriosa dei Frari .

Titian: Entombment of Christ , 1559, Prado , Madrid

Later, Titian's painting becomes darker, the technique is almost impressionistically resolved, the paint is pastose and flickering, and sometimes applied with the finger. The "painter prince" went on trips again and again, he received commissions from all over Europe, especially from Emperor Charles V , who also ennobled him.

All Venetian contemporaries of the Titian generation are more or less in his shadow and under his influence, especially Palma il Vecchio and Paris Bordone , who can be described as the Titian epigones.
More independent was Sebastiano del Piombo (eigtl. Sebastiano Luciani) who went from Venice to Rome as early as 1511 , and there he combined his Venetian coloring á la Giorgione with Raphael's influence.
Somewhat apart is the work of the original Lorenzo Lotto , whose art is characterized by great movement and a special handling of light and shadow; he also showed occasional tendencies towards mannerism and worked mainly in the Veneto , in Bergamo , then Venetian, and in the Marches ; in Venice itself he had relatively little luck.

The so-called Veneto-Lombard school , to which several important painters from today's Lombardy belong, some of whom had a strong Venetian character, forms a separate category . This includes the two in what was then the Republic of Venice belonging Brescia living painter Girolamo Romani, known as Romanino and Alessandro Bonvicino, called Moretto da Brescia . Romanino was particularly influenced by Giorgione, but Moretto cultivated an idiosyncratic style based more on Bellini, Titian and Lombard models. He had a clearer disegno than his contemporaries in Venice. Giovanni Girolamo Savoldo , who also came from Brescia, actually lived in the lagoon city from 1521 at the latest and painted in an independent style that was influenced by Giorgione and Titian. The same applies to Giovanni Busi, called Cariani , who also came from Lombardy, but worked almost constantly in Venice.

Paolo Veronese : Venus and Adonis , around 1570, Prado , Madrid

From the 1550s onwards, Paolo Veronese had great success. Although he was inspired by Titian's aristocratic style ideal and his painterly handling of color, his elegant art is characterized by its very own festive, cheerful and light-filled character, with a luminous and chromatic color palette of often delicate, pastel tones, except in the late work, where he also takes on darker tones. Because of his training in Verona, his contours ( disegno ) are clearer than those of Titian or Tintoretto, especially in the early and middle works. Veronese's major works in Venice include a whole cycle of paintings in the Church of San Sebastiano .

Mannerism came to Venice from around 1540 through foreign artists such as Pordenone , Francesco Salviati , Giovanni della Porta and Giorgio Vasari . Some smaller Venetian masters such as Bonifazio Veronese (eigtl. Bonifazio de 'Pitati) and Andrea Schiavone also showed mannerist tendencies, but this trend had little or no influence on the art of Titian and Veronese, which makes their painting look particularly classic.

Tintoretto - the third great Venetian and, in contrast to many others, actually born in the lagoon city - is on the other hand one of the most important painters of Mannerism. His painting is characterized by drama, daring perspectives and foreshortening and quick brushstrokes. He also has a tendency towards mysticism in connection with mannerism . Tintoretto worked in the lagoon city all his life, his main works include the painting cycles in the Scuola di San Rocco and pictures in the churches of San Rocco and Madonna dell'Orto .

The work of Jacopo Bassano , who is best known for his pastorals , also has a mannerist touch .

In 1576/77, parts of the Doge's Palace were destroyed by fire, and especially the frescoes from the 14th and early 15th centuries in the Sala del Maggior Consiglio, famous at the time, were replaced by ceilings and wall frescoes by Veronese, Tintoretto and his son Domenico , and Palma il Giovane replaced. The paintings were now done in oil on canvas, as frescoes did not hold up well in the humid climate of Venice.

17th century

After the deaths of the great painters Titian (1576), Veronese (1586) and Tintoretto (1594), Venetian painting fell into a crisis for lack of really great talents. Although the workshops of the Tintoretto and Veronese (or Cagliari) were continued by their heirs, they could not maintain the quality of their two great founders and were left with average. Like Palma il Giovane , they all continued to work in a late mannerist style until the 1620s, apparently without registering the baroque innovations that had taken place elsewhere .

Johann Liss : Vision of St. Hieronymus , ca.1627, San Nicola da Tolentino , Venice

In this stagnant situation, some foreign great artists came to the city after 1620, who combined the Venetian coloring with modern influences, especially from Rome ( Carracci , Tenebrism of the Caravaggists, etc.) in a baroque and independent sense: the two deceased Domenico Fetti and Johann Liss , and around 1640 the Genoese Bernardo Strozzi . All three painted with fragrant brushstrokes and were masterful colorists with new ideas, but did not leave much behind in the city and their suggestions were only processed by the late Baroque Venetians around 1700. Even Carlo Saraceni and Padovanino appeared at the beginning of the 17th century in Venice.

The following epoch of high baroque is generally neglected. The most interesting baroque artists who worked in or for Venice were now "foreigners" who come from other regions and artistic traditions. The Neapolitan Luca Giordano is often considered to be the trigger of a relatively late wave of Tenebrism that seized Venice in the 1650s to 1670s, but which could not only refer to Jusepe de Ribera and the Neapolitan Caravaggists, but also to Titian's and Veronese's dark late works and on Tintoretto. However, it cannot be said to have a distinctly “typically Venetian” style. During this period, Sebastiano Mazzoni (from Florence), Francesco Maffei (from Vicenza ), Giambattista Langetti (from Genoa) and Antonio Zanchi (from Este ) lived and painted in Venice . Antonio Zanchi's highly dramatic plague painting from 1666 on the grand staircase of the Scuola Grande di San Rocco is one of the most impressive wall paintings in Baroque Venice .

Gerolamo Forabosco : Venetian , 1659, whereabouts unknown

From 1655 , Johann Carl Loth, from Bavaria , was also a successful painter of the Venetian art scene of the high baroque . Pietro Liberi (from Padua) cultivated a lighter, bright and classicist style, without touching the tenebroso wave.

Girolamo Forabosco , who left some interesting portraits, the “ tenebroso ” Pietro Negri and Giovanni Antonio Fumiani, were among the few “real” Venetians of this time - but stylistically not necessarily in line with tradition .

The Roman Baroque of Pietro da Cortona reached Venice (today Accademia , Venice) from 1663–64 through his altarpiece Daniel in the Lions' Den in San Daniele . Giovanni Antonio Fumiani's huge ceiling painting Martyrdom and Apotheosis of St. Pantaleon in San Pantalon , created between 1684 and 1706, is also indebted to the Roman baroque and modeled on the daring perspective illusionism of Andrea Pozzo .

18th century

Sebastiano Ricci : Madonna and Child with Saints , 1708, San Giorgio Maggiore, Venice

Genuine Venetian painting of the highest and highest quality was not created again until around 1700 in late baroque and rococo , mainly with reference to the light-filled style of Paolo Veronese (“Neo-Veronismo”), but also to the early baroque colorists Domenico Fetti and Johann Liss. Probably the most important protagonist of this development was Sebastiano Ricci , who was educated in Venice , who only returned in the 1690s after years of wandering through other Italian art metropolises and is considered the founder of the Venetian Rococo with his fragrantly painted, colorful pictures. He mainly painted religious and mythological scenes, also had a European career and influenced artists from other regions.

In addition to Ricci, Giovanni Antonio Pellegrini and Giambattista Pittoni are among the pioneers of the Venetian late Baroque and Rococo. Other painters of this period were Antonio Bellucci , Gregorio Lazzarini , Gaspare Diziani , Bambini and Jacopo Amigoni . One of the best painters of the Rococo was Giovanni Antonio Guardi , who often worked with his younger brother Francesco , who was famous for his later vedute .

The painting of Giambattista Piazzetta has its own profile , who is influenced by Ricci and Pittoni and belongs to the Rococo, but in general again had a preference for dark tenebroso moods and concentrated on a somewhat limited color palette.

Giambattista Tiepolo : Neptune presents his gifts to Venezia , 1750s, Doge's Palace , Venice

Giovanni Battista Tiepolo can be considered the most famous of the Italian painters of the 18th century , whose frescoes and altarpieces are based on the stylistic foundations of his somewhat older painter colleagues Ricci, Pellegrini, Pittoni and Piazzetta. After 1750, his career also took him to Germany and Spain, where he left ceiling frescoes in the Würzburg Residence and in the Royal Palace of Madrid . In his last works he already tends towards classicism .

In portrait painting, the pastel painter Rosalba Carriera , who is in demand all over Europe , as well as Sebastiano Bombelli and Alessandro Longhi also worked . His son Pietro Longhi and Tiepolo's son Giandomenico Tiepolo are particularly known for their genre scenes from everyday life in Venetian society. Marco Ricci , the nephew of Sebastiano Ricci, was a popular landscape painter.

The view painting is a whole chapter in itself, it was of Luca Carlevarijs and Gaspar van Wittel founded and by gen Antonio Canal. Canaletto and his colleagues Bernardo Bellotto , Michele Marie ski and performed the aforementioned Francesco Guardi to its zenith. They owed their great success even during their lifetime to the many aristocratic tourists and art collectors from all over Europe who came to the lagoon on their grand tour and wanted to take home precious souvenirs of the magic of Venice.

Influence on other artists

The painterly innovations, the special and free use of color and light, which Giorgione, Tizian (especially in his late style), Tintoretto and Veronese introduced and brought to great art, had a great effect on the painters of later generations, some of whom were part of theirs own style integrated.

El Greco : Annunciation , around 1576, Thyssen-Bornemisza Museum , Madrid

Some foreign painters spent part of their apprenticeship directly in Venice, such as B. Lambert Sustris . Tintoretto's students included the Flemings Paolo Fiammingo and Marten de Vos . De Vos brought his “ maniera alla veneziana ” to Antwerp . Younger Flemings also learned to a large extent from the free and fragrant brushwork and the coloring of the Venetians, especially Rubens and Van Dyck , who in turn had numerous successors and thus indirectly passed on Venetian style features (including Jacob Jordaens ). Rembrandt's late work is reminiscent of Titian's late style, both in terms of color and the quasi-impressionistic technique; It is not entirely clear whether this is a conscious influence or a personal, parallel development.

A particularly clear influence can also be seen in the Spanish art of the Siglo de Oro . Domenikos Theotokopoulos called El Greco was apprenticed in Venice in the 1560s very likely in one of the painters' workshops and created his idiosyncratic style and his special brushwork from Venetian models (Titian, Tintoretto and Bassano) and Greek models. Many other Spanish painters of the 17th century also orientated themselves primarily towards Titian, whose works could be seen in the royal collections thanks to the love of art of the two Habsburgs, Charles V and Philip II . In particular, the paintings by Diego Velásquez and Francisco de Herrera the Elder. Younger , but also by the artists of the Madrid School, such as Juan Carreño de Miranda , Francisco Rizi , José Antolínez , Juan Antonio Escalante , Mateo Cerezo and Claudio Coello , not conceivable without the Venetians (only partially indirectly via Velázquez).

In French art, Nicolas Poussin integrated Venetian colors into his own style, which was otherwise more based on Roman classicism . In the 19th century, Eugène Delacroix still referred to the colors of the Venetians and Rubens.

Well-known representatives

Well-known representatives were

literature

Lexicon article

  • Several articles in: Lexikon der Kunst , 12 volumes, Karl Müller Verlag, Erlangen, 1994. Including:
    • Venetian School , in: Vol. 12, pp. 128-131
    • Bellini, Gentile , Bellini, Giovanni and Bellini, Jacopo , in: Vol. 2, pp. 93-98
    • Bonifazio Veronese (also Bonifazio Veneziano, actually Bonifazio de 'Pitati) , in: Vol. 2, p. 240
    • Bordone, Paris , in: vol. 2, p. 250 f
    • Cariani (eigt. Giovanni Busi) , in: Vol. 3, p. 105
    • Cima, Giovanni Battista (also Cima da Conegliano) , in: Vol. 3, p. 222 f
    • Delacroix, Eugène , in: Vol. 4, pp. 8-11
    • Dyck, Anthonis van , in: Vol. 4, pp. 118-122
    • Fetti (also Feti), Domenico , in: Vol. 4, pp. 259-260
    • Gentile da Fabriano , in: Vol. 5, pp. 44-46
    • Giorgione , in: Vol. 5, pp. 86-89
    • Greco, El , in: Vol. 5, pp. 208-215
    • Guardi, Francesco and Guardi, Giovanni Antonio , in: Vol. 5, pp. 276-278
    • Liss, Johann , in: Vol. 7, p. 298
    • Lorenzo Veneziano , in: Vol. 7, p. 320
    • Loth, Johann Carl (called Carlotto) , in: Vol. 7, p. 323
    • Lotto, Lorenzo , in: Vol. 7, pp. 324-325
    • Moretto (actually Alessandro Bonvicino) , in: Vol. 8, p. 237
    • Palma il Giovane and Palma il Vecchio , in: Vol. 9, pp. 75-76
    • Paolo Veneziano , in: Vol. 9, pp. 82-83
    • Pellegrini, Giovanni Antonio , in: Vol. 9, p. 107
    • Piazzetta (Piazetta), Giovanni Battista , in: Vol. 9, p. 147 f
    • Pisanello (also Antonio di Puccio Pisano) , in: Vol. 9, pp. 183-187
    • Pittoni, Giovanni Battista , in: Vol. 9, pp. 196-197
    • Ricci, Sebastiano , in: Vol. 10, p. 68
    • Romanino (actually Girolamo Romani) , in: Vol. 10, p. 125
    • Rubens, Peter Paul , in: Vol. 10, pp. 202-213
    • Savoldo, Giovanni Girolamo (also Girolamo da Brescia) , in: Vol. 10, p. 277
    • Schiavone, Andrea (also Andrej Medulic, also Andrea Meldolla) , in: Vol. 10, p. 292
    • Sebastiano del Piombo , in: Vol. 10, pp. 361-362
    • Tintoretto , in: Vol. 11, pp. 345-351
    • Tizian , in: Vol. 11, pp. 353-362
    • Velázquez, Diego Rodríguez de Silva y , in: Vol. 12, pp. 113-123
    • Veronese, Paolo , in: Vol. 12, pp. 144-148
    • Vivarini, Alvise , Vivarini, Antonio and Vivarini, Bartolomeo , in: Vol. 12, pp. 181-182

Venetian painting in general

  • Augusto Gentili [and a.]: Paintings in Venice . Bulfinch Press, Boston / New York / London 2002, ISBN 0-8212-2813-7
  • Giandomenico Romanelli (Ed.): Venice - Art and Architecture , 2 volumes, Könemann, Cologne, 1997, therein:
    • Giovanni Lorenzoni: Byzantine Legacy, Classicism and Occidental Contribution between the 13th and 14th Century , in: Vol. 1, pp. 92–117, here: 108–113
    • Sandro Sponza: The Venetian Painting in the 14th Century , in: Vol. 1, P. 176–201
    • Augusto Gentili: Painting in Venice from 1450 to 1515 , in: Vol. 1, Könemann, Cologne, 1997, pp. 254–309
    • David Rosand: The Venetian Painting in the 16th Century , in: Vol. 1, pp. 394–457
    • Stefania Mason: The Venetian Painting from the late 16th to 17th Century , in: Vol. 2, pp. 524-575
    • William Barcham: Tiepolo and the 18th Century , in: Vol. 2, pp. 640–691
    • William Barcham: Vedute, Landscapes, Portraits, Cappriccios and Genre Pictures in Venice of the 18th Century , In: Vol. 2, pp. 740–789
  • Margareta Vyoral-Tschapka (ed.) With Michael Pächt: Venetian painting of the 15th century. The Bellinis and Mantegna. Prestel, Munich 2002, ISBN 978-3-7913-2810-2 .

Individual biographies

  • Roberto D'Adda, Rodolfo Pallucchini: Lotto ( I classici dell'Arte ), Rizzoli / Skira / Corriere della Sera, Milan, 2004 (Italian)
  • Marsel Grosso: ROBUSTI, Jacopo, detto Tintoretto , in: Dizionario Biografico degli Italiani - Volume 88 , 2017, online at Treccani (Italian; accessed on March 22, 2020)
  • Emma Micheletti, Mauro Minardi: Gentile da Fabriano ( I classici dell'Arte ), Rizzoli / Skira / Corriere della Sera, Milan, 2005 (Italian)
  • Mariolina Olivari: Giovanni Bellini , Scala, Antella (Florence), 1990,
  • Filippo Pedrocco: Canaletto and the Venetian Vedutists , Scala, Antella (Florence), 1995.
  • Filippo Pedrocco: Tiepolo , Scala, Antella (Florence), 1996.
  • Filippo Pedrocco: Tizian , Scala, Antella (Florence), 1993.
  • Filippo Pedrocco: Veronese , Scala, Antella (Florence), 1998.
  • Raffaella Poltronieri: Ricci (Rizzi), Sebastiano , in: Dizionario Biografico degli Italiani , Volume 87 (2016), online at Treccani (Italian; accessed January 8, 2020)
  • Francesco Valcanover: Jacopo Tintoretto and the Scuola Grande by San Rocco , Storti Edizioni, Venezia, 1999

Individual evidence

  1. ↑ Venetian School , article in: Lexikon der Kunst , Vol. 12, Karl Müller Verlag, Erlangen, 1994, pp. 128-131, here: 128
  2. ^ David Rosand: The Venetian Painting in the 16th Century , in: Giandomenico Romanelli (Ed.): Venice - Art and Architecture , Vol. 1, Könemann, Cologne, 1997, pp. 394–457, here: p. 455
  3. ↑ Venetian School , article in: Lexikon der Kunst , Vol. 12, Karl Müller Verlag, Erlangen, 1994, pp. 128-131
  4. ↑ a b c d Venetian School , article in: Lexikon der Kunst , Vol. 12, Karl Müller Verlag, Erlangen, 1994, pp. 128-131, here: 128
  5. ^ Giovanni Lorenzoni: Byzantine Heritage, Classicism and Occidental Contribution between the 13th and 14th Century , in: Giandomenico Romanelli (Ed.): Venice - Art and Architecture , Vol. 1, Könemann, Cologne, 1997, pp. 92–117 , here: 112–113
  6. ^ Sandro Sponza: The Venetian Painting in the 14th Century , in: Giandomenico Romanelli (ed.): Venice - Art and Architecture , Vol. 1, Könemann, Cologne, 1997, pp. 176–201, here: 179–183
  7. ^ Giovanni Lorenzoni: Byzantine Heritage, Classicism and Occidental Contribution between the 13th and 14th Century , in: Giandomenico Romanelli (Ed.): Venice - Art and Architecture , Vol. 1, Könemann, Cologne, 1997, pp. 92–117 , here: 113–114
  8. ^ Sandro Sponza: The Venetian Painting in the 14th Century , in: Giandomenico Romanelli (ed.): Venice - Art and Architecture , Vol. 1, Könemann, Cologne, 1997, pp. 176–201, here: 179–183
  9. ↑ It has been replaced by Tintoretto's Paradise. Sandro Sponza: The Venetian Painting in the 14th Century , in: Giandomenico Romanelli (Ed.): Venice - Art and Architecture , Vol. 1, Könemann, Cologne, 1997, pp. 176–201, here: 186 f
  10. ^ A b Sandro Sponza: The Venetian Painting in the 14th Century , in: Giandomenico Romanelli (Ed.): Venice - Art and Architecture , Vol. 1, Könemann, Cologne, 1997, pp. 176–201, here: 192
  11. ↑ Sandro Sponza: The Venetian Painting in the 14th Century , in: Giandomenico Romanelli (Ed.): Venice - Art and Architecture , Vol. 1, Könemann, Cologne, 1997, pp. 176–201, here: 190
  12. ↑ Sandro Sponza: The Venetian Painting in the 14th Century , in: Giandomenico Romanelli (Ed.): Venice - Art and Architecture , Vol. 1, Könemann, Cologne, 1997, pp. 176–201, here: 196 ff
  13. ^ A b Sandro Sponza: The Venetian Painting in the 14th Century , in: Giandomenico Romanelli (Ed.): Venice - Art and Architecture , Vol. 1, Könemann, Cologne, 1997, pp. 176–201, here: 197
  14. ↑ a b c d e f Venetian School , article in: Lexikon der Kunst , Vol. 12, Karl Müller Verlag, Erlangen, 1994, pp. 128–131, here: 129
  15. ↑ Vivarini, Alvise , Vivarini, Antonio and Vivarini, Bartolomeo , in: Lexikon der Kunst , Vol. 12, Karl Müller Verlag, Erlangen, 1994, pp. 181–182
  16. ↑ Bellini, Gentile , Bellini, Giovanni and Bellini, Jacopo , in: Lexikon der Kunst , Vol. 2, Karl Müller Verlag, Erlangen, 1994, SS 93–98
  17. ↑ Thorsten Droste: Venice: The city in the lagoon - churches and palaces, gondolas and carnivals (art guide), Dumont, Cologne, 1996, p. 259 f
  18. ↑ Mariolina Olivari: Giovanni Bellini , Scala, Antella (Florence), 1990, pp. 3 and 9 ff
  19. ↑ Mariolina Olivari: Giovanni Bellini , Scala, Antella (Florence), 1990, pp. 75-76
  20. ↑ a b c Mariolina Olivari: Giovanni Bellini , Scala, Antella (Florence), 1990, p. 62
  21. ↑ Mariolina Olivari: Giovanni Bellini , Scala, Antella (Florence), 1990, pp. 30 and 53–54
  22. ^ Cima, Giovanni Battista (also Cima da Conegliano) , in: Lexikon der Kunst , Vol. 3, Karl Müller Verlag, Erlangen, 1994, p. 222 f
  23. ↑ Venetian Painting: A World of Light and Color . Michelin Travel
  24. ^ Augusto Gentili: Painting in Venice from 1450 to 1515 , in: Giandomenico Romanelli (Ed.): Venice - Art and Architecture , Vol. 1, Könemann, Cologne, 1997, pp. 254–309, here: 295–299
  25. ^ A b David Rosand: The Venetian Painting in the 16th Century , in: Giandomenico Romanelli (Ed.): Venice - Art and Architecture , Vol. 1, Könemann, Cologne, 1997, pp. 394–457, here: 394–396
  26. ↑ a b c d e f g h i j k l m n o p Venetian School , article in: Lexikon der Kunst , Vol. 12, Karl Müller Verlag, Erlangen, 1994, pp. 128–131, here: 130
  27. ^ David Rosand: The Venetian Painting in the 16th Century , in: Giandomenico Romanelli (ed.): Venice - Art and Architecture , Vol. 1, Könemann, Cologne, 1997, pp. 394–457, here: 399–402
  28. ^ David Rosand: The Venetian Painting in the 16th Century , in: Giandomenico Romanelli (Ed.): Venice - Art and Architecture , Vol. 1, Könemann, Cologne, 1997, pp. 394–457, here: pp. 454–455
  29. ^ David Rosand: The Venetian Painting in the 16th Century , in: Giandomenico Romanelli (ed.): Venice - Art and Architecture , Vol. 1, Könemann, Cologne, 1997, pp. 394–457, here: 406–407
  30. ^ Filippo Pedrocco: Tizian , Scala, Antella (Florence), 1993.
  31. ↑ Palma il Vecchio , in: Lexikon der Kunst , Vol. 9, Karl Müller Verlag, Erlangen, 1994, p. 75 f
  32. ^ Bordone, Paris , in: Lexikon der Kunst , Vol. 2, Karl Müller Verlag, Erlangen, 1994, p. 250 f
  33. ^ David Rosand: The Venetian Painting in the 16th Century , in: Giandomenico Romanelli (ed.): Venice - Art and Architecture , Vol. 1, Könemann, Cologne, 1997, pp. 394–457, here: 303 f
  34. ↑ Sebastiano del Piombo (actually Sebastiano Luciani) , in: Lexikon der Kunst , Vol. 10, Karl Müller Verlag, Erlangen, 1994, p. 361 f
  35. ↑ Roberto D'Adda, Rodolfo Pallucchini: Lotto ( I classici dell'Arte ), Rizzoli / Skira / Corriere della Sera, Milan, 2004, et al. P. 9 (Mannerist tendencies of Lotto)
  36. ↑ Lotto, Lorenzo , in: Lexikon der Kunst , Vol. 7, Karl Müller Verlag, Erlangen, 1994, pp. 324-325
  37. ^ Romanino (actually Girolamo Romani) , in: Lexikon der Kunst , Vol. 10, Karl Müller Verlag, Erlangen, 1994, p. 125
  38. ↑ Moretto (actually Alessandro Bonvicino) , in: Lexikon der Kunst , Vol. 8, Karl Müller Verlag, Erlangen, 1994, p. 237
  39. ↑ Thorsten Droste: Venice: The city in the lagoon - churches and palaces, gondolas and carnivals (art guide), Dumont, Cologne, 1996, pp. 296-297
  40. ↑ Savoldo, Giovanni Girolamo (also Girolamo da Brescia) , in: Lexikon der Kunst , Vol. 10, Karl Müller Verlag, Erlangen, 1994, p. 277
  41. ^ Cariani (originally Giovanni Busi) , in: Lexikon der Kunst , Vol. 3, Karl Müller Verlag, Erlangen, 1994, p. 105
  42. ^ Filippo Pedrocco: Veronese , Scala, Antella (Florence), 1998, p. 14
  43. ^ David Rosand: The Venetian Painting in the 16th Century , in: Giandomenico Romanelli (ed.): Venice - Art and Architecture , Vol. 1, Könemann, Cologne, 1997, pp. 394–457, here: 434–439
  44. ^ Filippo Pedrocco: Veronese , Scala, Antella (Florence), 1998.
  45. ↑ Bonifazio Veronese (also Bonifazio Veneziano, eigtl. Bonifazio de 'Pitati) , in: Lexikon der Kunst , Vol. 2, Karl Müller Verlag, Erlangen, 1994, p. 240
  46. ↑ Schiavone, Andrea (also Andrej Medulic, also Andrea Meldolla) , in: Lexikon der Kunst , Vol. 10, Karl Müller Verlag, Erlangen, 1994, p. 292
  47. ^ David Rosand: The Venetian Painting in the 16th Century , in: Giandomenico Romanelli (ed.): Venice - Art and Architecture , Vol. 1, Könemann, Cologne, 1997, pp. 394–457, here: pp. 415–416 , 420-429, 434, 451-452
  48. ↑ a b Marsel Grosso: ROBUSTI, Jacopo, detto Tintoretto , in: Dizionario Biografico degli Italiani - Volume 88 , 2017, online on Treccani (Italian; accessed on March 22, 2020)
  49. ^ David Rosand: The Venetian Painting in the 16th Century , in: Giandomenico Romanelli (Ed.): Venice - Art and Architecture , Vol. 1, Könemann, Cologne, 1997, pp. 394–457, here: p. 453
  50. ↑ Stefania Mason: The Venetian painting from the late 16th to 17th centuries, in: Giandomenico Romanelli (ed.): Venice - Art and Architecture, Vol. 2, Könemann, Cologne, 1997, pp. 524-575, here: p 545-552
  51. ↑ Liss, Johann , in: Lexikon der Kunst , Vol. 7, Karl Müller Verlag, Erlangen, 1994, p. 298
  52. ↑ Stefania Mason: The Venetian painting from the late 16th to 17th centuries, in: Giandomenico Romanelli (ed.): Venice - Art and Architecture, Vol. 2, Könemann, Cologne, 1997, pp. 524-575, here: p 541-544
  53. ↑ Stefania Mason: The Venetian painting from the late 16th to 17th centuries , in: Giandomenico Romanelli (ed.): Venice - Art and Architecture , Vol. 2, Könemann, Cologne, 1997, pp. 524-575, here: p . 566–574 (the "tenebrosi"), especially 567 f (Giordano)
  54. ↑ Stefania Mason: The Venetian painting from the late 16th to 17th centuries , in: Giandomenico Romanelli (ed.): Venice - Art and Architecture , Vol. 2, Könemann, Cologne, 1997, pp. 524-575, here: p 557-561
  55. ↑ Stefania Mason: The Venetian painting from the late 16th to 17th centuries , in: Giandomenico Romanelli (ed.): Venice - Art and Architecture , Vol. 2, Könemann, Cologne, 1997, pp. 524-575, here: p 561-574
  56. ↑ Stefania Mason: The Venetian Painting from the late 16th to 17th Century , in: Giandomenico Romanelli (Ed.): Venice - Art and Architecture , Vol. 2, Könemann, Cologne, 1997, pp. 524-575, here: p . 568 (Fig.) And 574
  57. ↑ Stefania Mason: The Venetian Painting from the late 16th to 17th Century , in: Giandomenico Romanelli (Ed.): Venice - Art and Architecture , Vol. 2, Könemann, Cologne, 1997, pp. 524-575, here: p 574 f
  58. ↑ Loth, Johann Carl (called Carlotto) , in: Lexikon der Kunst , Vol. 7, Karl Müller Verlag, Erlangen, 1994, p. 323
  59. ↑ Stefania Mason: The Venetian Painting from the late 16th to 17th Century , in: Giandomenico Romanelli (Ed.): Venice - Art and Architecture , Vol. 2, Könemann, Cologne, 1997, pp. 524-575, here: p 574 f
  60. ↑ Stefania Mason: The Venetian Painting from the late 16th to 17th Century , in: Giandomenico Romanelli (Ed.): Venice - Art and Architecture , Vol. 2, Könemann, Cologne, 1997, pp. 524-575, here: p 575
  61. ^ Ricci, Sebastiano , in: Lexikon der Kunst , Volume 10, Karl Müller Verlag, Erlangen 1994, p. 68
  62. ↑ William Barcham: The Venetian Rococo - Tiepolo and 18th century , in: Venice - Art and Architecture , Volume II, Könemann, pp 640-691; on Ricci in particular: pp. 640, 652-653, 657-658, 662-664
  63. ↑ William Barcham: The Venetian Rococo - Tiepolo and 18th century , in: Venice - Art and Architecture , Volume II, Könemann, pp 640-691; here: 640–672
  64. ^ Guardi, Francesco and Guardi, Giovanni Antonio , in: Lexikon der Kunst , Volume 5, Karl Müller Verlag, Erlangen 1994, pp. 276–278
  65. ↑ William Barcham: The Venetian Rococo - Tiepolo and 18th century , in: Venice - Art and Architecture , Volume II, Könemann, pp 640-691; here: 658–660, 672 f
  66. ↑ a b c d Venetian School , article in: Lexikon der Kunst , Vol. 12, Karl Müller Verlag, Erlangen, 1994, pp. 128-131, here: 131
  67. ↑ William Barcham: The Venetian Rococo - Tiepolo and 18th century , in: Venice - Art and Architecture , Volume II, Könemann, pp 640-691; especially: 673-691
  68. ^ Filippo Pedrocco: Tiepolo , Scala, Antella (Florence), 1996.
  69. ↑ a b c d William Barcham: Vedute, landscapes, portraits, cappriccios and genre pictures in Venice of the 18th century , in: Giandomenico Romanelli (ed.): Venice - Art and Architecture , Vol. 2, Könemann, Cologne, 1997, p 740-789
  70. ^ Filippo Pedrocco: Canaletto and the Venetian Vedutists , Scala, Antella (Florence), 1995
  71. ↑ Guardi, Francesco , in: Lexikon der Kunst , Volume 5, Karl Müller Verlag, Erlangen 1994, pp. 276–278
  72. ↑ a b c d David Rosand: The Venetian Painting in the 16th Century , in: Giandomenico Romanelli (Ed.): Venice - Art and Architecture , Vol. 1, Könemann, Cologne, 1997, pp. 394–457, here: p 457
  73. ↑ Rubens, Peter Paul , article in: Lexikon der Kunst , Vol. 10, Karl Müller Verlag, Erlangen, 1994, pp. 202–213, here: 202
  74. ^ Dyck, Anthonis van , in: Lexikon der Kunst , Vol. 4, Karl Müller Verlag, Erlangen, 1994, pp. 118-122, here: 119 and 121
  75. ↑ Greco, El , article in: Lexikon der Kunst , Vol. 5, Karl Müller Verlag, Erlangen, 1994, pp. 208–215, here: 208
  76. ↑ Velázquez, Diego Rodríguez de Silva y , article in: Lexikon der Kunst , Vol. 12, Karl Müller Verlag, Erlangen, 1994, pp. 113–123, here: 113 and 118
  77. ↑ Delacroix, Eugène , article in: Lexikon der Kunst , Vol. 4, Karl Müller Verlag, Erlangen, 1994, pp. 8-11, here: 8