In 1508, the name of Vittore

In 1508, the name of Vittore Carpaccio occurs with that of Bastiani in connection with the frescoes of Giorgione upon the façade of the Fondaco de Tedeschi, about which there was a dispute. To Carpaccio we are indebted for the most vivid realization of the contemporary life of Venice; for although his subjects were nominally taken from sacred history or legend, they are treated in a thoroughly secular fashion, giving the clearest idea of the buildings, people, and costume of the Venice of his time, with the greatest variety and richest development. His object is not only to represent single events, but a complete scene, and while we observe this characteristic in one or two pictures by the Bellini, Carpaccio not only shows it much oftener, but carries it to a much fuller development—possibly influenced by the Netherlandish masters. Single Piece Paintigns
Many of his works are in the Academy at Venice; eight large pictures, painted between 1490 and 1495, represent the history of S. Ursula and the eleven thousand virgins. Such a wealth of charming material might have embarrassed a less capable painter, but "the monotonous incident which forms the groundwork of many of them," as Kugler coldly puts it, "is throughout varied and elevated by a free style of grouping and by happy moral allusions." Another series is that of the Miracles of the Holy Cross,abstract oil paintings for sale, among which may be especially noticed the cure of a man possessed by a devil; the scene is laid in the loggia of a Venetian palace, and is watched from below by a varied group of figures on the Canal and its banks. Larger and broader treatment may be seen in the Presentation in the Temple, painted in 1510, which is also in the Academy, and in the altar-piece of S. Vitale, dated 1514. This last brings Carpaccio into closer comparison with the later Venetian painters, being in the nature of a Santa Conversazione, where the holy personages are grouped in some definite relation to each other, and not independent figures. oil paintings online
Palma Vecchio (1480-1528), so called to distinguish him from Giacomo Palma the younger—Palma Giovane,—was so much influenced by Giorgione and Titian that his indebtedness to Bellini appears to have been comparatively slight. The beautiful Portrait of a Poet in the National Gallery has been attributed both to Giorgione and to Titian.

The number of pictures which are now permitted by the experts to be called Giorgione's is so small,oil painting on canvas, that we may learn more about him as an influence on the work of other painters—especially Titian—than from the meagre materials available for his own biography. The only unquestioned examples of his work are three pictures at the Uffizi, The Trial of Moses, The Judgment of Solomon, and The Knight of Malta; the Venus at Dresden; The Three Philosophers at Vienna; and the famous Concert Champêtre in the Louvre. But until the critics deprive him even of these, we are able to agree that "his capital achievement was the invention of the modern spirit of lyrical passion and romance in pictorial art, and his magical charm has never been equalled." buy oil paintings online