Grasp Storyteller of Renaissance Venice

Nationwide Gallery of Artwork, 

November 20, 2022–February 12, 2023

Palazzo Ducale, Venice, 

March 18, 2023–June 18, 2023

 A number one determine within the artwork of Renaissance Venice, Vittore Carpaccio (c. 1460/1466–1525/1526) is greatest recognized for his massive, spectacular narrative work that introduced sacred historical past to life. Celebrated in his native metropolis of Venice for hundreds of years, beloved for his observant eye, fertile creativeness, and storytelling prowess, Carpaccio stays little recognized within the U.S.—besides as a namesake culinary dish, “Steak Carpaccio.”

Vittore Carpaccio: Grasp Storyteller of Renaissance Venice is ready to determine the artist’s popularity amongst American guests with this, his first retrospective ever held exterior Italy. The exhibition will probably be on view on the Nationwide Gallery of Artwork from November 20, 2022, by means of February 12, 2023. Some 45 work and 30 drawings will embrace large-scale canvases painted for Venice’s charitable societies and church buildings alongside smaller works that embellished the properties of affluent Venetians. The exhibition is organized by the Nationwide Gallery and Musei Civici di Venezia, additionally the organizers of the 2019 exhibition Tintoretto: Artist of Renaissance Venice.

“The Nationwide Gallery of Artwork is happy to accomplice, as soon as once more, with the Musei Civici di Venezia, this time to introduce American audiences to a lesser-known protagonist of the Venetian Renaissance, Vittore Carpaccio,” mentioned Kaywin Feldman, director, Nationwide Gallery of Artwork. “Our guests will probably be delighted by Carpaccio’s vivid and dynamic work that deliver to life Venice within the Fifteenth and Sixteenth centuries. By means of his masterful storytelling, Carpaccio illustrated the maritime empire throughout a captivating interval when it was a cultural crossroads between West and East. We’re grateful to the various museums, church buildings, and collectors who’ve generously lent their works to share with the general public on this historic exhibition.”

A number of work have been newly conserved for the exhibition. Two of Carpaccio’s best-known canvases from the Scuola degli Schiavoni have been handled with the help of Save Venice, the group devoted to the preservation of town’s cultural heritage: Saint Augustine in His Research (shortly after 1502)and Saint George and the Dragon (c. 1504–1507). Different remedies uncover discoveries in regards to the unique compositions. Nationwide Gallery conservator Joanna Dunn’s remedy of the museum’s Virgin Studying (c. 1505) reveals a child Jesus beforehand hidden beneath a later repainting that sought to disguise the place the portray had been reduce down centuries in the past.

The 2 work from the Scuola degli Schiavoni are amongst a number of works by no means earlier than exhibited exterior Italy, together with the complete, six-painting narrative cycle, Lifetime of the Virgin (c. 1502–1508) made for the Scuola di Santa Maria degli Albanesi. The exhibition additionally consists of the reunification of Fishing and Fowling on the Lagoon (c. 1492/1494)from the J. Paul Getty Museum and Two Ladies on a Balcony (c. 1492/1494) from Venice’s Museo Correr—two work that doubtless adorned a folding door.

Exhibition Curators

The exhibition is curated by Peter Humfrey, internationally acknowledged scholar of Fifteenth- and Sixteenth-century Venetian portray and Professor Emeritus of artwork historical past on the College of St Andrews, Scotland, in collaboration with Andrea Bellieni, curator on the Musei Civici di Venezia, and Gretchen Hirschauer, curator of Italian and Spanish portray on the Nationwide Gallery of Artwork.

Exhibition Overview

Vittore Carpaccio: Grasp Storyteller of Renaissance Venice begins within the West Constructing’s West Backyard Court docket with a particular set up of Fishing and Fowling on the Lagoon (c. 1492/1494)and Two Ladies on a Balcony (c. 1492/1494). The 2 compositions have been painted on the identical panel of wooden however have been doubtless reduce in half within the 1700s. When seen collectively, the work inform the story of two girls sitting on a balcony whereas their husbands take pleasure in a day of sport on the Venetian lagoon. The panels are believed to have embellished folding doorways that led right into a home house in a Venetian palace. Right here, they lead guests into the exhibition.

The exhibition continues with an emphasis on Carpaccio’s improvements in Venetian portray. Early examples of personal devotional work by the artist embrace Virgin and Baby with the Younger Saint John the Baptist (c. 1493–1496) from Germany’s Städel Museum, a singular depiction of the Virgin and Baby as aristocratic Venetians of the Fifteenth century. One other spotlight of the exhibition is the reunification of the whole cycle of six canvases depicting the lifetime of the Virgin Mary made for the Scuola di Santa Maria degli Albanesi. Carpaccio units the story in Venice of his personal day, mixing particulars of Venetian structure, furnishings, and clothes with components that evoke Jerusalem. Carpaccio additionally transposed scenes from classical mythology to modern Venice in different works like Departure of Ceyx from Alcyone (c. 1498/1503) from the gathering of The Nationwide Gallery, London.

The exhibition consists of examples from the three extant narrative cycles that Carpaccio was commissioned to create. His remaining narrative cycle made for the Scuola di Santo Stefano is represented by Ordination of Saint Stephen (1511) from the Staatliche Museen zu Berlin, Gemäldegalerie. Among the many largest works within the exhibition is the Lion of Saint Mark (1516) from the Fondazione Musei Civici di Venezia, Palazzo Ducale. Spanning greater than twelve toes, the portray reveals the normal image of Venice, a winged lion. The lion stands half within the sea and half on land, alluding to the huge sea-faring empire.

Carpaccio pioneered narrative topics in altarpieces. The Martyrdom of the Ten Thousand Christians on Mount Ararat (1515) from the Gallerie dell’Accademia, Venice, was created to embellish the altar of the Ottobon household within the church of Sant’Antonio di Castello, which now not exists. Its unique context might be seen in one other portray, Imaginative and prescient of Prior Francesco Ottobon (c. 1513), from the Gallerie dell’Accademia.

Extra of Carpaccio’s drawings survive than these of another Venetian painter of his technology. Excellent works on their very own, the drawings embrace tough sketches for work offered within the exhibition, together with meticulous preparatory drawings for work too massive to journey for this present. Preparatory drawings for a story cycle of the Lifetime of Saint Ursula for the Scuola di Sant’Orsola, the artist’s first main fee, embrace a outstanding double-sided drawing Head of a Younger Girl in Profile/Head of a Younger Girl in Three-Quarter View (c. 1488–1489) from the gathering of the Ashmolean Museum, College of Oxford.

Lastly, an interpretive and studying room options View of Venice (1500), a outstanding woodcut by Jacopo de’ Barbari. Drawn from the Nationwide Gallery’s assortment, the six-sheet print particulars Venice because it appeared in Carpaccio’s day and reveals the 1000’s of buildings, squares, canals, bridges, gardens, and sculptures that crammed the bustling city-state.

Exhibition Catalog

Copublished by the Nationwide Gallery of Artwork and Yale College Press, this 340-page illustrated catalog options essays by curators Peter Humfrey and Andrea Bellini together with contributions by different main students exploring the complete vary of Carpaccio’s artistry and presenting new analysis on the extraordinary artist. 

Sara Menato of the Fondo Ambiente Italia analyzes extensively Carpaccio’s drawings. Susannah Rutherglen, impartial scholar and former exhibitions analysis assistant on the Nationwide Gallery of Artwork, illuminates Carpaccio’s narrative work for the Venetian confraternities often known as scuole. Professor Deborah Howard, St. John’s Faculty, Cambridge, explores the artist’s rendering of structure. Professor Catherine Whistler of the Ashmolean Museum of Artwork and Archaeology, Oxford, affords her insights on Carpaccio as draftsman. Joanna Dunn, conservator on the Nationwide Gallery of Artwork, reveals components of the artist’s pictorial approach. Professor Linda Borean, Division of Humanities and Cultural Patrimony, College of Udine, Italy, affords a historic perspective on early collectors and critics of Carpaccio. Andrea Bellieni of the Fondazione Musei Civici di Venezia shares his insights on the trendy understanding of Carpaccio that started within the nineteenth century.


Vittore Carpaccio
Two Ladies on a Balcony, c. 1492/1494

oil on panel
total: 94.5 x 63.5 cm (37 3/16 x 25 in.)
Fondazione Musei Civici di Venezia, Museo Correr, Venice

Vittore Carpaccio
Fishing and Fowling on the Lagoon (recto); Letter Rack (verso), c. 1492/ 1494

oil on panel
total: 75.4 x 63.8 cm (29 11/16 x 25 1/8 in.)
The J. Paul Getty Museum, Los Angeles
Digital picture courtesy of the Getty’s Open Content material Program

Vittore Carpaccio
Meditation on the Ardour of Christ, c. 1494-1496

oil on panel
total: 66.5 x 84.5 cm (26 3/16 x 33 1/4 in.)
framed: 87.9 x 105.7 x 7.6 cm (34 5/8 x 41 5/8 x 3 in.)
Lent by The Metropolitan Museum of Artwork, John Stewart Kennedy Fund, 1911 (11.118)

Vittore Carpaccio
Virgin Studying with the Christ Baby (recto) Virgin Adoring the Baby with the Younger Baptist (verso), c. 1496-1497

Pen and brown ink over pink chalk, on laid paper
total: 12.8 x 9.4 cm (5 1/16 x 3 11/16 in.)
The Samuel Courtauld Belief, The Courtauld Gallery, London
Bridgeman Photographs

Vittore Carpaccio
Saint Augustine in His Research, shortly after 1502

oil and tempera on canvas
total: 141 x 211 cm (55 1/2 x 83 1/16 in.)
framed: 143.3 x 214.7 cm (56 7/16 x 84 1/2 in.)
Scuola Dalmata dei Santi Giorgio e Trifone, Venice
Picture: Matteo De Fina

Vittore Carpaccio
A Younger Knight, 1510

oil on canvas
total: 218 x 151 cm (85 13/16 x 59 7/16 in.)
framed: 253.6 x 188.6 x 11 cm (99 13/16 x 74 1/4 x 4 5/16 in)
Museo Thyssen-Bornemisza, Madrid
© Museo Nacional Thyssen-Bornemisza, Madrid

Vittore Carpaccio
Virgin Studying, c. 1510

oil on canvas transferred from panel
total: 78 x 51 cm (30 11/16 x 20 1/16 in.)
framed: 119.7 x 86.4 x 10 cm (47 1/8 x 34 x 3 15/16 in.)
Nationwide Gallery of Artwork, Washington, Samuel H. Kress Assortment

Vittore Carpaccio
Saint George and the Dragon, 1516

oil on canvas
total: 180 x 226 cm (70 7/8 x 89 in.)
Abbazia di San Giorgio Maggiore, Benedicti Claustra Onlus, Venice
Courtesy of Abbazia di San Giorgio Maggiore – Benedicti Claustra onlus

Vittore Carpaccio
Lion of Saint Mark, 1516

oil on canvas
total: 130 x 368 cm (51 3/16 x 144 7/8 in.)
with wooden strip: 139 x 368 x 4.5 cm (54 3/4 x 144 7/8 x 1 3/4 in.)
Fondazione Musei Civici di Venezia, Palazzo Ducale, Venice