Relevant bibliographies by topics / Venetian Artists

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Venetian Artists'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

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Journal articles on the topic "Venetian Artists"

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Drakopoulou, Eugenia. "Comments on the artistic interchange between conquered Byzantium and Venice as well as on its political background." Zograf, no. 36 (2012): 179–88. http://dx.doi.org/10.2298/zog1236179d.

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Political choices and historical imperatives dictated a rapprochement of the Eastern and Western Churches in the fifteenth and sixteenth centuries. The Venetian state, attracted by the superiority of Byzantine culture, always coveted a seat among its beneficiaries, while renowned Byzantine exiles sought Venetian assistance against the Ottomans. The Orthodox artworks they brought with them, gave the artists of Renaissance Venice the opportunity to commune with the art of Constantinople, creating new cultural contributions. In the first decades of the sixteenth century, the political and religious alliances of Ohrid and the West were associated with a Venetian-inspired artistic revival in painting on the territory of the Archbishop of Ohrid.
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Hornik, Heidi J. "The Venetian Images by Bellini and Carpaccio: Job as Intercessor or Prophet?" Review & Expositor 99, no. 4 (December 2002): 541–68. http://dx.doi.org/10.1177/003463730209900405.

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The role held by Job in fifteenth-century Venetian culture will be evaluated through the study of three High Renaissance paintings. The master artists Giovanni Bellini and Vittore Carpaccio each painted Job in a unique, visual manner. The analysis of the formal compositional characteristics, the iconographic elements and the historical context of the San Giobbe altarpiece and the Sacred Allegory by Giovanni Bellini and the Meditation on the Passion by Vittore Carpaccio compose a visual alternative for understanding Job. The issues of patronage, compositional artistic sources, and contemporary theological sources will be identified. Their direct relevance to these paintings contributes to the full understanding of how and why some of the artist's decisions were made for each commission. The specific Joban iconography is presented and interpreted as it relates to these three works of art. Bellini and Carpaccio are contemporaries who live, worship, and compete for work in the same city. They interpret the role that Job plays for the contemporary viewer/worshipper in different ways. The question of Job as an intercessor or prophet becomes essential in ascertaining their significance then and now to both the student of art and religion.
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Sperling, Jutta. "Milk and Miracles: Heteroglossia and Dissent in Venetian Religious Art after the Council of Trent." Journal of Medieval and Early Modern Studies 51, no. 2 (May 1, 2021): 285–319. http://dx.doi.org/10.1215/10829636-8929073.

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This essay investigates Benedetto Caliari's Nativity of the Virgin (1576) with its provocative and unorthodox depiction of a bare-breasted wet-nurse in the context of both Protestant and Catholic criticism of “indecent” religious imagery. Reformers on both sides drew a connection between the Virgin Mary's ostentatious display of her lactating breasts and her presumed, derided, or hoped-for miracle-working capacities or intercessory powers. In post-Tridentine Venice, several artists, including Tintoretto and Veronese, all of whom were connected to the Scuola de’ Mercanti that commissioned Caliari's painting, employed religious breastfeeding imagery in a wide array of iconographies in order to express dissent with the Counter-Reformation church's emphasis on orthodoxy. In contrast to writers, artists were able to claim a certain degree of nonconformity and freedom from prosecution. In light of Mikhail Bakhtin's concept of heteroglossia, it is argued that religious lactation imagery after Trent produced irony, parody, doubt, and dissent.
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Berkan-Jabłońska, Maria. "On Several Polish Poems From 1829–1870 with Venice in the Background." Czytanie Literatury. Łódzkie Studia Literaturoznawcze, no. 9 (December 30, 2020): 101–37. http://dx.doi.org/10.18778/2299-7458.09.05.

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The subject of the article is a review of images of Venice recorded in Polish poetry between the years 1829–1870. The paper deliberately stops in the 1870s in the selection of the literary material to be analysed, focusing on the Romantic and post-Romantic tradition. Due to the different artistic value of the works, the author adopted the formula of a historical and literary “catalogue” ordered chronologically and partly problematicised according to the functions which Venetian scenery or culture perform in them. Attention is drawn to the fact that Venetian motifs present in the poetry of Polish artists tend to be related to particular phenomena and topics, such as Byronism, Gothicism, political and national camouflage, love and existential masks, conflict between people and power. The authors referred to in the paper include, among others, Adam Mickiewicz, Józef Ignacy Kraszewski, Zygmunt Krasiński, Edward Dembowski, Edmund Chojecki, Karol Baliński, Mieczysław Gwalbert Pawlikowski, Teofil Lenartowicz, Feliks Wicherski, Teofil Nowosielski, Aleksander Michaux and Wiktor Gomulicki.
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Feldman, Martha. "The Academy of Domenko Venier, Music's Literary Muse in Mid-Cinquecento Venice." Renaissance Quarterly 44, no. 3 (1991): 476–512. http://dx.doi.org/10.2307/2862594.

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I in the Mid-Sixteenth Century Venetian writers, artists, scholars, and musicians came increasingly to play out their cultural ideals within informal academies. These academies made no bylaws or statutes, nor did they keep the sorts of membership lists, minutes, and systematic records that were to become commonplace by the end of the century. In essence they were regular gatherings, chiefly in private homes, for discussion, debate, and performance. The diffuse demography of the republican city-state made it well-suited to the dynamic processes of artistic and intellectual interchange that such gatherings provided.
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Hilje, Emil. "Mletački kaštel u Zadru." Ars Adriatica, no. 1 (January 1, 2011): 109. http://dx.doi.org/10.15291/ars.431.

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The medieval fortifications of Zadar were developed and enriched during the centuries as a consequence of changes in the entire defensive system of the town but also due to the political circumstances. Two main forts stood on opposite parts of the town, one facing away from the sea, next to the entrance from the moat (Foša) in the south corner, and the other at the entrance to the harbour in the north corner of the town. The information about the original fort next to the harbour entrance, which defended the chain barring enemy ships from entering the harbour, is scarce. However, after the famous Venetian siege and fall of Zadar in 1346, this fort was completely rebuilt and even given a new role. In 1437, the Venetian government decided to pierce the town walls and excavate a moat around the fortification, which would be filled with sea water, in order to create an open space around the fortification facing the town for defensive reasons. In other words, the nearby houses were torn down. In such a way the fortification, rather than being a fort which protects the town from external attacks, became a fort in which the Venetian crew could, in case of a new rebellion, fight off the attacks from the town itself, receive supplies from the sea, and enable its fleet to enter the town harbour. In this way the Venetian fortification at Zadar became a variant of sorts of ancient citadels which represented the last line of defence in the cases when the enemies reach the town itself, and, at the same time, served as a stronghold of the ruling governments against the town. The relief of the winged lion, symbol of the Venetian Republic, incorporated in the façade of the ‘Little Armory’, is one of the best reliefs of that type at Zadar, and it can be dated to mid-fifteenth century and brought into connection with a group of artists from the circle of Juraj Dalmatinac.
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Wilson, Bronwen. "“il bel sesso, e l'austero Senato“: The Coronation of Dogaressa Morosina Morosini Grimani." Renaissance Quarterly 52, no. 1 (1999): 73–139. http://dx.doi.org/10.2307/2902017.

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The Venetian printmaker Giacomo Franco produced several engravings for the 1597 coronation of Morosina Morosini, the wife of doge Marin Grimani (1595-1605). Focusing on three of these prints in which a bird's-eye view of the city is framed with illustrations of the festivities, this essay explores relations between space, gender, allegory and costume as they were manifested in this rare female procession. An examination of the pictorial conventions used by Franco and other artists to depict the event suggests that Morosina's coronation functioned both to resist existing codes of gender but also to reassert female patrician status.
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Vavoulis, Vassilis. "Antonio Sartorio (c. 1630–1680): Documents and Sources of a Career in Seventeenth-Century Venetian Opera." Royal Musical Association Research Chronicle 37 (2004): 1–70. http://dx.doi.org/10.1080/14723808.2004.10541004.

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Although little information survives on Antonio Sartorio's formative years, his date of birth can be placed at c. 1630 on the basis of the act of his death, which states that he died on 30 December 1680 at the age of ‘about 50‘. In all probability Sartorio came from a family of artists-craftsmen as the composer Gasparo Sartorio (1625/6–80), and the theatre architect and opera set-designer Girolamo (Hieronymo, Geronimo) Sartorio (d. 1716) were his brothers.
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Tulić, Damir. "Glory Crowned in Marble: Self-promotion of Individuals and Families in Seventeenth- and Eighteenth-Century Monuments in Istria and Dalmatia." Radovi Instituta za povijest umjetnosti, no. 43 (December 31, 2019): 139–50. http://dx.doi.org/10.31664/ripu.2019.43.11.

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Senior representatives of the Venetian Republic inspired distinguished noblemen and rich citizens in Venice, as well as in Terraferma and Stato da Mar, to perpetuate their memory through lavish commemorative monuments that were erected in churches and convents. Their endeavour for self-promotion and their wish to monopolise glory could be detected in the choice of material for the busts that adorned almost every monument: marble. The most elaborate monument of this kind belongs to the Brutti family, erected in 1695 in Koper Cathedral. In 1688 the Town of Labin ordered a marble bust of local hero Antonio Bollani and placed it on the facade of the parish church. Fine examples of family glorification could be found in the capital of Venetian Dalmatia – Zadar. In the Church of Saint Chrysogonus, there is a monument to the provveditore Marino Zorzi, adorned with a marble portrait bust. Rather similar is the monument to condottiere Simeone Fanfogna in Zadar’s Benedictine Church of Saint Mary and the monument to the military engineer Francesco Rossini in Saint Simeon. All these monuments embellished with portrait busts have a common purpose: to ensure the everlasting memory of important individuals. This paper analyses comparative examples, models, artists, as well as the desires of clients or authorities that were able to invest money in self or family promotion, thus creating the identity of success.
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Kelly, Déirdre. "It’s All in the Reading." Arts 9, no. 1 (February 10, 2020): 19. http://dx.doi.org/10.3390/arts9010019.

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It seems inherent in the nature of contemporary artist’s book production to continue to question the context for the genre in contemporary art practice, notwithstanding the medium’s potential for dissemination via mass production and an unquestionable advantage of portability for distribution. Artists, curators and editors operating in this sector look to create contexts for books in a variety of imaginative ways, through exhibition, commission, installations, performance and, of course as documentation. Broadening the discussion of the idea of the book within contemporary art practice, this paper examines the presence and role of book works within the context of the art biennale, in particular the Venice Art Biennale of which the 58th iteration (2019) is entitled ‘May You Live In Interesting Times’ and curated by Ralph Rugoff, with an overview of the independent International cultural offerings and the function of the ‘Book Pavilion’. Venetian museums and institutions continue to present vibrant diverse works within the arena of large-scale exhibitions, recognising the position that the book occupies in the history of the city. This year, the appearance for the first time, of ‘Book Biennale’, opens up a new and interesting dialogue, taking the measure of how the book is being promoted and its particular function for visual communication within the arts in Venice and beyond.
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Dissertations / Theses on the topic "Venetian Artists"

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Newall, Diana. "Art, artist, patron, community in Venetian Crete, 1200-1450." Thesis, Courtauld Institute of Art (University of London), 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527483.

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Windows, Peter. "Jacopo Bellini's drawings and their artistic and intellectual context, with particular reference to Venetian and Paduan humanism." Thesis, Birmingham City University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325508.

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Books on the topic "Venetian Artists"

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John, Ross. A Venetian carnival. [East Hampton, N.Y.]: High Tide Press, 1991.

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Kogelnik, Kiki. Venetian heads: Art in glass. [Klagenfurt: Galerie Judith Walker], 1994.

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Gable, Carl I. Murano magic: Complete guide to Venetian glass, its history and artists. Atglen, Pa: Schiffer Pub., 2004.

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Tagliapietra, Lino. Tagliapietra: A Venetian glass maestro / edited by Marino Barovier. Dublin: Vit[r]um, Links for Pub., 1998.

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Tagliapietra, Lino. Tagliapietra: A Venetian glass maestro / edited by Marino Barovier. Dublin: Vit[r]um, Links for Pub., 1998.

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Peter, Humfrey, Clifford Timothy, Weston-Lewis Aidan, and Bury Michael, eds. The age of Titian: Venetian renaissance art from Scottish collections. Edinburgh: National Galleries of Scotland, 2004.

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Sesso, Giambattista Vinco Da. Antonio Canova: Opere a Possagno e nel Veneto = Works in Possagno in the Venetian region. Bassano del Grappa [Italy]: Ghedina & Tassotti, 1992.

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Bianchi, Giovanni, and Eugenio Manzato. Artisti veneti del '900: Il lascito Luccini. Treviso]: Comune di Treviso, Assessorato alla cultura, 1997.

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Lombardo, Luca. Albertino Mussato, Epistole metriche Edizione critica, traduzione e commento. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-436-3.

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The Metric Epistles of Albertino Mussato (1261-1329) are a collection of 20 compositions in Latin verse (of which, 12 in elegiac couplets, 8 in hexameters, for a total of 1,570 verses) composed between 1309 and 1326 and addressed to different recipients. The list of recipients includes friends of the author and representatives of the Paduan political and intellectual élite of the early 14th century such as the judges Rolando da Piazzola, Giovanni da Vigonza and Paolo da Teolo, the notary Zambono d’Andrea and Marsilio Mainardini; masters of grammar and rhetoric such as the Venetian Giovanni Cassio, Bonincontro from Mantua and Guizzardo from Bologna; religious personalities such as the Dominican friars Benedetto and Giovannino da Mantova, respectively lecturer and professor of theology at the Studium Generale of the convent of S. Agostino in Padua; collective recipients, such as the College of Artists and fellow citizens of Padua. After an editio princeps was printed in Venice in 1636 on the basis of a now lost manuscript, a critical edition of the Epistles is published here for the first time, including the complete corpus of the texts in the light of their entire manuscript tradition. The texts are accompanied by an Italian translation and a detailed commentary, which mainly aims to bring to light and analyse the dense intertextuality of Mussato’s poem (in particular classical Latin sources), reconsidering the cultural background of the author and his contemporaries in the context of the so-called ‘Paduan prehumanism’ and an ideal dialogue with Dante’s coeval biographical and literary experiences.
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Bertolotti, Antonino. Artisti veneti in Roma nei secoli XV, XVI e XVII [microform]: Studi e ricerche negli archivi romani. London: British Library, 1985.

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Book chapters on the topic "Venetian Artists"

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Morelli, Laura. "L’esperienza formativa di Anton Domenico Gabbiani a Venezia. Disegni e dipinti inediti." In Studi e saggi, 107–45. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-181-5.08.

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This paper aims to cast new light on Anton Domenico Gabbiani’s first sojourn in Venice, which took place between 1678 and 1681, by following the two main biographies of the artist, written by Ignazio Enrico Hugford and Francesco Saverio Baldinucci, and by analysing new archival documents. Specific attention is given to the constant study of artworks by the great Venetian masters of the Sixteenth century, especially Titian, to whom Gabbiani devoted himself also in his later years, copying famous masterpieces of the Cadore painter. Through some unpublished drawings of the Uffizi and new or little-known paintings, the Venetian component of Gabbiani’s style is identified in the way of composing and in the execution of airy and light figures. The highlights and intense Venetian colorism contributed to the creation of sophisticated chiaroscuro modulations expressed in the mimetic rendering of animals and landscape settings.
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Pagello, E., M. Bert, M. Barbon, E. Menegatti, C. Moroni, c. Pellizzari, D. Spagnoli, and S. Zaffalon. "Artisti Veneti: An Heterogeneous Robot Team for the 2001 Middle-Size League." In RoboCup 2001: Robot Soccer World Cup V, 616–20. Berlin, Heidelberg: Springer Berlin Heidelberg, 2002. http://dx.doi.org/10.1007/3-540-45603-1_97.

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Bianchi, Giovanni. "L’Unione Giovani Artisti all’Esposizione di Ca’ Pesaro del 1919." In Storie dell’arte contemporanea. Venice: Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-199-7/003.

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After the break sets from World War I, the exhibition activity of the Bevilacqua La Masa Foundation restarts in 1919 with the Exhibition of Ca’ Pesaro. The UGA (Unione Giovani Artisti), a group of Venetian artists who wanted to encourage young people in their uneasy reintegration into the cultural and artistic environment of the city, also took part in this important exhibition. UGA, which has a very short history, is linked to the birth, or better rebirth, of the Venetian Artistic Circle that still operates in Venice.
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Mantoan, Diego. "«All We Are Saying Is Give Pizza Chance»." In Storie della Biennale di Venezia. Venice: Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-366-3/016.

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The chapter addresses the rise of the Young British Artists (YBA) in their home country and their subsequent international spread during the 1990s as seen in connection with the Venice Biennale occurring between 1993 and 2003. Particularly, the author argues that the Aperto ’93 section devoted to young artists at the Arsenale for the 45th Biennale was an unexpected starting point for the YBAs on the global stage and their first Venetian appraisal convinced home institutions such as the British Council to finance a large program of international exhibitions for this new artistic generation. Throughout the 1990s the Biennale thus became a major stage for the rising YBAs, which in turn deeply influenced the artistic language and installation practices shown at the Venetian exhibition. In conclusion, the chapter intends to present the 1990s at the Biennale as a decade of progressive struggle between different artistic generations – of both artists and curators – that climaxed with the 50th Biennale in 2003 and eventually shaped the new face of the Venetian exhibitions for the new millennium.
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Ferrarin, Matilde. "Gli artisti veneziani alla Biennale (1895-1905)." In Storie della Biennale di Venezia. Venice: Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-366-3/005.

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Venice Biennale, created by the will and the organizational skills of the Venetian artists, was actually managed exclusively by Antonio Fradeletto. The new figure of the “General Secretary” has distinguished for the first time the role of artists, interrupting the tradition of ‘self-rule’ of painters and sculptors used to managing any artistic event. This essay analyses this important moment of transition, reporting events that took place in its administration during the first years of the Biennale. Through magazines periodicals of the time we report the critical fortune that these works of art had in the local and national press, in an attempt to verify if the creators of the Biennale succeeded in the difficult task of emerging and getting noticed in such a vast and international artistic context.
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Coidessa, Clarissa. "Le donne artiste alla Biennale d’arte di Venezia." In Storie della Biennale di Venezia. Venice: Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-366-3/004.

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This study on the theme of female participation at Venice Biennale from 1895 to 1995 contains data that allow us to outline the history of their participation, also in comparison of the male one. In order to limit the number of the analised artists and in order to carry out a more in-depth analysis, the first ten editions of Venice Biennale (1895-1912) were chosen: for this reason, the sculpture sector was also preferred as case study. A specific situation of the Venetian exhibition has been discovered. The artistic training of some sculptors and the study of art history made it possible to understand the role of women.
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Masala, Andrea. "La fotosintesi del cambiamento." In Venezia 1868: l’anno di Ca’ Foscari. Venice: Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-294-9/013.

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This essay aims to give a reading of Guglielmo Ciardi’s painting Canale della Giudecca focused on light and synthesis of pictorial elements. The second half of the 19th century is a very intense period for Venice: the Serenissima experience recently ended and modernity is arriving in the form of new bridges and ferries. The Academy of Art is living a big revolution and artists are travelling, learning new techniques and painting en plein air. Guglielmo Ciardi is in this way a man of his times and he gives a very good proof of it in this painting. Thanks to critical readings and secondary sources Ciardi’s creative process will be here analysed and explained with particular stress on light and synthesis. Therefore, Canale della Giudecca is interpreted here as a manifesto and a ‘photo-synthesis’ of the painter’s art, of the landscape painting changes and as a symbol of the 1868 venetian historical and cultural context.
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Portinari, Stefania. "Per un ritratto di Milena Milani." In Italianistica. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-422-5/008.

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Milena Milani, writer and artist, was also the lover of a notorius Venetian art gallerist, Carlo Cardazzo. Her passionate and vitalist character could express her feelings and feminist ideas through intense and outrageous romances, as A Girl Called Giulio (1964), but also in a poetic and ardent visual production. Her paintings, collages, and ceramics show an inclination for the use of words according with a wider range of artistic movements, being also a special witness of the art system.
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Bernier, Celeste-Marie, Alan Rice, Lubaina Himid, and Hannah Durkin. "Imaging and Imagining ‘Vanished lives of the black diaspora’ in Venetian Maps (1997)." In Inside the invisible, 173–82. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620856.003.0010.

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Working to represent, recreate and reimagine denied and distorted traditions of African diasporic artistry, Himid was inspired to create Venetian Maps, the subject of this chapter, and which consists of ‘a series of paintings that illustrated this hidden culture that was incredibly influential but never discussed in general touristic guide book conversation’. As Lubaina Himid observes, ‘Venice though is also a symbol for me to how people of the black diaspora have for centuries been the backbone of the cultural development of many European cities but that this presence is invisible’. She exposes centuries of social, political, historical and cultural injustices: ‘That such a visible set of people, there because they were used as slaves and signifiers of European wealth, could be so invisible in the discussions around the origins of patterns and architectural forms of the countries from which they came has always been a continuing preoccupation of mine’. Warring against white supremacist erasures of a very real Black presence in every area of national, political, social and cultural life, she is under no illusion that ‘Venice looks like it does because Venetians were impressed by North African/Arabic culture its richness and sophistication its intricacy and its colour and spectacular shifting moving symbolism’.
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"Icons of Narratives: Greek-Venetian Artistic Interchange, Thirteenth–Fifteenth Centuries." In Receptions of Hellenism in Early Modern Europe, 173–88. BRILL, 2019. http://dx.doi.org/10.1163/9789004402461_009.

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