Vittore Carpaccio

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Carpaccio, Vittore

(vēt-tô`rā kärpät`chō), c.1450–1522, Venetian painter, influenced by Gentile and Giovanni Bellini. His delightful narrative paintings reflect the pageantry of 15th-century Venice. They also offer a fanciful view of the Middle East, gained through contemporary drawings. His style is notable for its rich color, luminosity, and wealth of detail. Among his best paintings are the cycle depicting the life of St. Ursula, the St. George series, the Presentation in the Temple (all: Academy, Venice); scenes from the life of St. Stephen (Louvre; Brera, Milan); Meditation on the Passion (Metropolitan Mus.); Saint Reading and other works (National Gall. of Art, Washington, D.C.).


See T. Pignatti's Carpaccio (1958).

Carpaccio, Vittore


Born circa 1455 or 1465, in Venice; died circa 1526, in Capodistria (?), present-day Koper, Slovenia. Italian painter of the early Renaissance; representative of the Venetian school.

Carpaccio, a student of Gentile Bellini, was influenced by Antonello da Messina and Giovanni Bellini. He painted series from the lives of St. Ursula (1490–95, Academy, Venice) and of St. George and St. Jerome (1502–07, Scuola di San Giorgio degli Schiavoni, Venice). In these paintings, legendary holy events are treated like real scenes contemporaneous with the artist’s life. Carpaccio depicted interiors and urban landscapes in these works. He combined his fascination with narration and the poetic freshness of everyday details with his aspiration to create an integral and colorful picture of the world. He subtly re-created the ambience of space, light, and air to soften the sonority of local color. Thus, Carpaccio anticipated the painting discoveries of the 16th-century Venetian masters.


Lauts, J. Carpaccio: Painting and Drawings. New York, 1962.
Zampetti, P. Vittore Carpaccio: Catalogo della mostra. Venice, 1963.
Uopera completa del Carpaccio. Milan [1967].


References in periodicals archive ?
The name "carpaccio" is named after the Venetian Renaissance painter Vittore Carpaccio because of his use of brilliant reds and whites, with the red from the beef, covering a plate with the thinnest possible slices and a cream-coloured sauce then drizzled over the meat in a crosshatch pattern, as the white.
Sin las aureolas de su hermano Giovanni ni de su cunado Andrea Mantegna, ni tan siquiera con la significacon quasi heroica asignada al padre Jacopo en su labor pionera en pro de una figuracion propiamente renacentista para el ambito venecia no, singularmente patente en sus albumes de disenos del Louvre y Londres, autentica escuela para sus hijos, que seguramente tambien colaboraron y se ejercitaron en su conformacion y, desde luego, menos ensalzado por la critica que Vittore Carpaccio -que probablemente aprendiera con Gentile- dado lo fascinante de sus ciclos narrativos que, sobre todo, para determinadas Scuole venecianas pintara, la figura mas modesta si se quiere de Gentile Bellini (c.
I woke in dimness in some moving place, then realized I was in our cabin on the Vittore Carpaccio southbound from Naples.
Muraro, I disegni di Vittore Carpaccio, Florence, 1977, p.
The term Carpaccio usually refers to very thinly cut slices of raw food and, supposedly, is named after the artist Vittore Carpaccio who favoured the colour red, like raw beef.
Augustine in the highly symbolic painting of Vittore Carpaccio, The Vision of St.
It was named after Renaissance painter Vittore Carpaccio who was noted for his use of red.