100% hand painted, 100% cotton canvas, 100% money back if not satisfaction.
Vittore Carpaccio
Italian
1455-1526
Vittore Carpaccio Locations
His name is associated with the cycles of lively and festive narrative paintings that he executed for several of the Venetian scuole, or devotional confraternities. He also seems to have enjoyed a considerable reputation as a portrait painter. While evidently owing much in both these fields to his older contemporaries, Gentile and Giovanni Bellini, Carpaccio quickly evolved a readily recognizable style of his own which is marked by a taste for decorative splendour and picturesque anecdote. His altarpieces and smaller devotional works are generally less successful, particularly after about 1510, when he seems to have suffered a crisis of confidence in the face of the radical innovations of younger artists such as Giorgione and Titian.
100% hand painted, 100%
cotton canvas,
100% money back if not satisfaction.
Vittore Carpaccio Stephen Preaching at Jerusalem (mk05)
new5/Vittore Carpaccio-775749.jpg Canvas,58 1/4 x 76 1/2''(148 x 194 cm)Entered the Louvre in 1812
Vittore Carpaccio Scenes from the Life of St Ursula (mk08)
new6/Vittore Carpaccio-456343.jpg The Pilgrims are met by Pope Cyriacus in front of the Walls of Rome
Tempera on canvas
281x307cm
Venice Galleria dell'Accademia
Vittore Carpaccio Two Venetian Ladies on a Balcony (nn03)
new8/Vittore Carpaccio-329844.jpg c 1495/1500
Oil on panel 164 x 94 cm 64 1/2 x 37 in Museo Correr Venice
Vittore Carpaccio vision of st.augustine
new20/Vittore Carpaccio-253743.jpg mk247
1502 to 08 , oil on canvas,55x82 in,141x210 cmo,scuola di san giorgio degli schiavoni,venice,ltaly
Vittore Carpaccio The Dream of St. Ursula
new20/Vittore Carpaccio-369848.jpg The Dream of St. Ursula, 1495; tempera on canvas, 274 x 267 cm Gallerie dell'Accademia, Venice.
Italian
1455-1526
Vittore Carpaccio Locations
His name is associated with the cycles of lively and festive narrative paintings that he executed for several of the Venetian scuole, or devotional confraternities. He also seems to have enjoyed a considerable reputation as a portrait painter. While evidently owing much in both these fields to his older contemporaries, Gentile and Giovanni Bellini, Carpaccio quickly evolved a readily recognizable style of his own which is marked by a taste for decorative splendour and picturesque anecdote. His altarpieces and smaller devotional works are generally less successful, particularly after about 1510, when he seems to have suffered a crisis of confidence in the face of the radical innovations of younger artists such as Giorgione and Titian.
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