Domenico Veneziano


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Veneziano, Domenico:

see Domenico VenezianoDomenico Veneziano
, c.1400–1461, Italian painter. His origin is unknown, although his name suggests that he came from Venice. His art, with rich coloring and detailed landscape settings, has close affinities with northern painting.
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Domenico Veneziano

(dōmā`nēkō vānātsyä`nō), c.1400–1461, Italian painter. His origin is unknown, although his name suggests that he came from Venice. His art, with rich coloring and detailed landscape settings, has close affinities with northern painting. In Florence he created his most celebrated work, the St. Lucy Altarpiece (central panel in the Uffizi). It is one of the first works in which the Madonna and Saints are brought into the same spatial volume (Sacra Conversazione). Other paintings attributed to him are several Madonnas (Settignano; National Gall., London; National Gall. of Art, Washington, D.C.); an exquisite circular painting of the Adoration of the Magi (Berlin); and some portraits (National Gall. of Art, Washington, D.C.; Gardner Mus., Boston).

Domenico Veneziano

 

Born before 1410 in Venice; died May 15, 1461, in Florence. Italian painter.

From about 1439, Domenico Veneziano worked in Florence. At first under the influence of late Gothic painting, he later became a representative of the early Renaissance style in Florentine painting. In the Santa Lucia dei Magnoli altar-piece (c. 1445-48, Uffizi Gallery, Florence) he showed himself to be a master of perspective and figure construction. Unlike other Florentine artists, Domenico Veneziano showed great interest in problems of color, which he used to express emotional nuances. The silvery tone of his paintings (The Annunciation, Fitzwilliam Museum, Cambridge) unifies the color scheme and creates an impression of light and air. Domenico Veneziano’s achievements were developed by his pupil Piero della Francesca.

REFERENCE

Bodmer, H. Domenico Veneziano. Zurich, 1950.
References in periodicals archive ?
Yet this does not lead Banker to dismiss claims, based largely or exclusively on Vasari, that Piero had painted frescoes with Domenico Veneziano in Loreto and on his own in the ducal palace in Ferrara, even though the idea that Vasari had knowledge of frescoes destroyed before he was bom and in cities about which he knew little or nothing is hard to take seriously.
The Lives of such antiheroes as Buonamico Buffalmaco, Andrea del Castagno, and Baccio Bandinelli, as related by Vasari, offer a literary counterpoint--a narrative tension--necessary for highlighting the accomplishments of the heroes of Vasari's work, and Ladis focuses here on Giotto, Domenico Veneziano, and Michelangelo.
Major painters were engaged here: Domenico Veneziano, the young Piero della Francesca and Bicci di Lorenzo, and later Andrea del Castagno and Alessio Baldovinetti painted frescoes in the Cappella Maggiore of the hospital church of S Egidio.
The influence of Donatello's perspectival innovations is evident to great effect in two powerful panels by Domenico Veneziano (nos.
40) whilst the deep perspectival thrust of the architecture is evocative of Domenico Veneziano.
Essentially a brilliant decorator and a shrewd assimilator, with occasional flashes of inspiration, the artist was a quick study, learning from Ghiberti (this link discussed at length by Ahl), Masaccio, Filippo Lippi, Castagno, Domenico Veneziano, and Mantegna.
In 1438 Domenico Veneziano wrote to Piero de' Medici in the hope of securing a Florentine commission.
In doing so, he influenced artists such as Domenico Veneziano and Jacopo Bellini, who produced similar effects only much later.
The absorption of Venetian oil and a foreshadowed view of Florentine conquest is told in a wonderful apologue where Domenico Veneziano brings the secrets of oil painting from Venice to Florence, teaches it to Andrea del Castagno, and afterwards is killed by Castagno.