1.
Venice
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Venice is a city in northeastern Italy and the capital of the Veneto region. It is situated across a group of 118 small islands that are separated by canals and these are located in the shallow Venetian Lagoon, an enclosed bay that lies between the mouths of the Po and the Piave Rivers. Parts of Venice are renowned for the beauty of their settings, their architecture, the lagoon and a part of the city are listed as a World Heritage Site. In 2014,264,579 people resided in Comune di Venezia, together with Padua and Treviso, the city is included in the Padua-Treviso-Venice Metropolitan Area, with a total population of 2.6 million. PATREVE is a metropolitan area without any degree of autonomy. The name is derived from the ancient Veneti people who inhabited the region by the 10th century BC, the city was historically the capital of the Republic of Venice. Venice has been known as the La Dominante, Serenissima, Queen of the Adriatic, City of Water, City of Masks, City of Bridges, The Floating City, and City of Canals. The City State of Venice is considered to have been the first real international financial center which gradually emerged from the 9th century to its peak in the 14th century and this made Venice a wealthy city throughout most of its history. It is also known for its several important artistic movements, especially the Renaissance period, Venice has played an important role in the history of symphonic and operatic music, and it is the birthplace of Antonio Vivaldi. Venice has been ranked the most beautiful city in the world as of 2016, the name Venetia, however, derives from the Roman name for the people known as the Veneti, and called by the Greeks Eneti. The meaning of the word is uncertain, although there are other Indo-European tribes with similar-sounding names, such as the Celtic Veneti, Baltic Veneti, and the Slavic Wends. Linguists suggest that the name is based on an Indo-European root *wen, so that *wenetoi would mean beloved, lovable, a connection with the Latin word venetus, meaning the color sea-blue, is also possible. The alternative obsolete form is Vinegia, some late Roman sources reveal the existence of fishermen on the islands in the original marshy lagoons. They were referred to as incolae lacunae, the traditional founding is identified with the dedication of the first church, that of San Giacomo on the islet of Rialto — said to have taken place at the stroke of noon on 25 March 421. Beginning as early as AD166 to 168, the Quadi and Marcomanni destroyed the center in the area. The Roman defences were again overthrown in the early 5th century by the Visigoths and, some 50 years later, New ports were built, including those at Malamocco and Torcello in the Venetian lagoon. The tribuni maiores, the earliest central standing governing committee of the islands in the Lagoon, the traditional first doge of Venice, Paolo Lucio Anafesto, was actually Exarch Paul, and his successor, Marcello Tegalliano, was Pauls magister militum. In 726 the soldiers and citizens of the Exarchate rose in a rebellion over the controversy at the urging of Pope Gregory II
2.
Republic of Venice
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It was based in the lagoon communities of the historically prosperous city of Venice. It was a leading European economic and trading power during the Middle Ages, the Venetian city state was founded as a safe haven for people escaping persecution in mainland Europe after the fall of the Roman Empire. In its early years, it prospered on the salt trade, in subsequent centuries, the city state established a thalassocracy. It dominated trade on the Mediterranean Sea, including commerce between Asia, Europe and North Africa, the Venetian navy was used in the Crusades. Venice achieved territorial conquests along the Adriatic Sea, the city became home to an extremely wealthy merchant class, who patronized renowned art and architecture along the citys lagoons. Venetian merchants were influential financiers in Europe, the city was also the birthplace of great European explorers, including Marco Polo, as well as the classical music composer Vivaldi. The republic was ruled by the Doge, who was elected by members of the Great Council of Venice, the ruling class was an oligarchy of merchants and aristocrats. Venice and other Italian maritime republics played a key role in fostering capitalism, Venetian citizens generally supported the system of governance. The city-state enforced strict laws and employed ruthless tactics in its prisons, the opening of new trade routes to the Americas and the East Indies via the Atlantic Ocean marked the beginning of Venices decline as a maritime republic. The city state suffered defeats from the navy of the Ottoman Empire, in 1797, the country was colonized by Austria and France, following an invasion by Napoleon Bonaparte. Venice became a part of a unified Italy in the 19th century and it was formally known as the Most Serene Republic of Venice and is often referred to as La Serenissima, in reference to its title as one of the Most Serene Republics. He was the first historical Doge of Venice, whichever the case, the first doges had their power base in Heraclea. Ursuss successor, Deusdedit, moved his seat from Heraclea to Malamocco in the 740s and he was the son of Ursus and represented the attempt of his father to establish a dynasty. Such attempts were more commonplace among the doges of the first few centuries of Venetian history. They desired to remain well-connected to the Empire, another faction, republican in nature, believed in continuing along a course towards practical independence. The other main faction was pro-Frankish, supported mostly by clergy, they looked towards the new Carolingian king of the Franks, Pepin the Short, as the best provider of defence against the Lombards. A minor, pro-Lombard faction was opposed to close ties with any of these further-off powers, the successors of Obelerio inherited a united Venice. By the Pax Nicephori, the two emperors had recognised that Venice belonged to the Byzantine sphere of influence, many centuries later, the Venetians claimed that the treaty had recognised Venetian de facto independence, but the truth of this claim is doubted by modern scholars
3.
Veneto
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Veneto or Venetia is one of the twenty regions of Italy. Its population is five million, ranking fifth in Italy. The regions capital and largest city is Venice, Veneto was part of the Roman Empire until the 5th century AD. Later, after a period, it was part of the Republic of Venice until 1797. Venice ruled for centuries one of the largest and richest maritime republics. The Statute of Veneto describes Venetians as a people, besides Italian, most inhabitants also speak Venetian. The region is home to a notable nationalist movement, the regions largest party is the Venetist/Padanist Liga Veneta, a founding member of Lega Nord. The current President of Veneto is Luca Zaia, elected in 2010 with 60. 2% of the vote and the support of Lega Nord, The People of Freedom, Veneto is the 8th largest region in Italy, with a total area of 18,398.9 km2. At its northernmost corner it borders also on Austria, the north-south extension of Veneto is 210 km from the Austrian border to the mouth of the River Po. By area, 29% of its surface is mountainous, the highest massif in the Dolomites is the Marmolada-massif at 3,342 m. Other dolomitic peaks are the Tre Cime di Lavaredo and the Pale di San Martino, the Venetian Prealps are not as high and range between 700 m and 2,200 m. Fossil deposits are abundant there. The plain itself is subdivided into the plain and the lower plain. The lower plain is both a mainstay of production and the most populated part of the region. Several rivers flow through the region, the Po, Adige, Brenta, Bacchiglione, Livenza, Piave, the eastern shore of the largest lake in Italy, Lake Garda, belongs to Veneto. The coastline covers approximately 200 km, of which 100 km are beaches, the coasts of the Adriatic Sea are characterised by the Venetian Lagoon, a flat terrain with ponds, marshes and islands. The Po Delta to the south features sandbars and dunes along the coastline, the inland portion contains cultivable land recently reclaimed by a system of canals and dykes. Fish ponds have been created there as well, the delta and the lagoon are a stopping-point for migratory birds
4.
Italy
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Italy, officially the Italian Republic, is a unitary parliamentary republic in Europe. Located in the heart of the Mediterranean Sea, Italy shares open land borders with France, Switzerland, Austria, Slovenia, San Marino, Italy covers an area of 301,338 km2 and has a largely temperate seasonal climate and Mediterranean climate. Due to its shape, it is referred to in Italy as lo Stivale. With 61 million inhabitants, it is the fourth most populous EU member state, the Italic tribe known as the Latins formed the Roman Kingdom, which eventually became a republic that conquered and assimilated other nearby civilisations. The legacy of the Roman Empire is widespread and can be observed in the distribution of civilian law, republican governments, Christianity. The Renaissance began in Italy and spread to the rest of Europe, bringing a renewed interest in humanism, science, exploration, Italian culture flourished at this time, producing famous scholars, artists and polymaths such as Leonardo da Vinci, Galileo, Michelangelo and Machiavelli. The weakened sovereigns soon fell victim to conquest by European powers such as France, Spain and Austria. Despite being one of the victors in World War I, Italy entered a period of economic crisis and social turmoil. The subsequent participation in World War II on the Axis side ended in defeat, economic destruction. Today, Italy has the third largest economy in the Eurozone and it has a very high level of human development and is ranked sixth in the world for life expectancy. The country plays a prominent role in regional and global economic, military, cultural and diplomatic affairs, as a reflection of its cultural wealth, Italy is home to 51 World Heritage Sites, the most in the world, and is the fifth most visited country. The assumptions on the etymology of the name Italia are very numerous, according to one of the more common explanations, the term Italia, from Latin, Italia, was borrowed through Greek from the Oscan Víteliú, meaning land of young cattle. The bull was a symbol of the southern Italic tribes and was often depicted goring the Roman wolf as a defiant symbol of free Italy during the Social War. Greek historian Dionysius of Halicarnassus states this account together with the legend that Italy was named after Italus, mentioned also by Aristotle and Thucydides. The name Italia originally applied only to a part of what is now Southern Italy – according to Antiochus of Syracuse, but by his time Oenotria and Italy had become synonymous, and the name also applied to most of Lucania as well. The Greeks gradually came to apply the name Italia to a larger region, excavations throughout Italy revealed a Neanderthal presence dating back to the Palaeolithic period, some 200,000 years ago, modern Humans arrived about 40,000 years ago. Other ancient Italian peoples of undetermined language families but of possible origins include the Rhaetian people and Cammuni. Also the Phoenicians established colonies on the coasts of Sardinia and Sicily, the Roman legacy has deeply influenced the Western civilisation, shaping most of the modern world
5.
Painting
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Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, Painting is a mode of creative expression, and the forms are numerous. Drawing, gesture, composition, narration, or abstraction, among other aesthetic modes, may serve to manifest the expressive, Paintings can be naturalistic and representational, photographic, abstract, narrative, symbolistic, emotive, or political in nature. A portion of the history of painting in both Eastern and Western art is dominated by motifs and ideas. In art, the term painting describes both the act and the result of the action, the term painting is also used outside of art as a common trade among craftsmen and builders. What enables painting is the perception and representation of intensity, every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity, thus, the basic means of painting are distinct from ideological means, such as geometrical figures, various points of view and organization, and symbols. In technical drawing, thickness of line is ideal, demarcating ideal outlines of an object within a perceptual frame different from the one used by painters. Color and tone are the essence of painting as pitch and rhythm are the essence of music, color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but in the East, some painters, theoreticians, writers and scientists, including Goethe, Kandinsky, and Newton, have written their own color theory. Moreover, the use of language is only an abstraction for a color equivalent, the word red, for example, can cover a wide range of variations from the pure red of the visible spectrum of light. There is not a register of different colors in the way that there is agreement on different notes in music. For a painter, color is not simply divided into basic, painters deal practically with pigments, so blue for a painter can be any of the blues, phthalocyanine blue, Prussian blue, indigo, cobalt, ultramarine, and so on. Psychological and symbolical meanings of color are not, strictly speaking, colors only add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music is analogous to light in painting, shades to dynamics and these elements do not necessarily form a melody of themselves, rather, they can add different contexts to it. Modern artists have extended the practice of painting considerably to include, as one example, collage, some modern painters incorporate different materials such as sand, cement, straw or wood for their texture. Examples of this are the works of Jean Dubuffet and Anselm Kiefer, there is a growing community of artists who use computers to paint color onto a digital canvas using programs such as Adobe Photoshop, Corel Painter, and many others. These images can be printed onto traditional canvas if required, rhythm is important in painting as it is in music
6.
Italians
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Italians are a nation and ethnic group native to Italy who share a common culture, ancestry and speak the Italian language as a native tongue. The majority of Italian nationals are speakers of Standard Italian. Italians have greatly influenced and contributed to the arts and music, science, technology, cuisine, sports, fashion, jurisprudence, banking, Italian people are generally known for their localism and their attention to clothing and family values. The term Italian is at least 3,000 years old and has a history that goes back to pre-Roman Italy. According to one of the common explanations, the term Italia, from Latin, Italia, was borrowed through Greek from the Oscan Víteliú. The bull was a symbol of the southern Italic tribes and was often depicted goring the Roman wolf as a defiant symbol of free Italy during the Social War. Greek historian Dionysius of Halicarnassus states this account together with the legend that Italy was named after Italus, mentioned also by Aristotle and Thucydides. The Etruscan civilization reached its peak about the 7th century BC, but by 509 BC, when the Romans overthrew their Etruscan monarchs, its control in Italy was on the wane. By 350 BC, after a series of wars between Greeks and Etruscans, the Latins, with Rome as their capital, gained the ascendancy by 272 BC, and they managed to unite the entire Italian peninsula. This period of unification was followed by one of conquest in the Mediterranean, in the course of the century-long struggle against Carthage, the Romans conquered Sicily, Sardinia and Corsica. Finally, in 146 BC, at the conclusion of the Third Punic War, with Carthage completely destroyed and its inhabitants enslaved, octavian, the final victor, was accorded the title of Augustus by the Senate and thereby became the first Roman emperor. After two centuries of rule, in the 3rd century AD, Rome was threatened by internal discord and menaced by Germanic and Asian invaders. Emperor Diocletians administrative division of the empire into two parts in 285 provided only temporary relief, it became permanent in 395, in 313, Emperor Constantine accepted Christianity, and churches thereafter rose throughout the empire. However, he moved his capital from Rome to Constantinople. The last Western emperor, Romulus Augustulus, was deposed in 476 by a Germanic foederati general in Italy and his defeat marked the end of the western part of the Roman Empire. During most of the period from the fall of Rome until the Kingdom of Italy was established in 1861, Odoacer ruled well for 13 years after gaining control of Italy in 476. Then he was attacked and defeated by Theodoric, the king of another Germanic tribe, Theodoric and Odoacer ruled jointly until 493, when Theodoric murdered Odoacer. Theodoric continued to rule Italy with an army of Ostrogoths and a government that was mostly Italian, after the death of Theodoric in 526, the kingdom began to grow weak
7.
Venetian school (art)
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From the later part of the 15th century, Venice had a distinctive, thriving and influential art scene. Beginning with the work of Giorgione, and the workshop of Giovanni Bellini, major artists of the Venetian school included Titian, Tintoretto, Veronese and the Bassano. During the early-15th century, Venetian art was dominated by the earlier styles arising from its Byzantine links, another external factor was the visit by Leonardo da Vinci, who was particularly influential on Giorgione. During his long career, Bellini has been credited with creating the Venetian style, with such works he has been described as reaching the High Renaissance ideals, and certainly expresses the key distinctive factors of the Venetian school. Giorgione and Titian were both apprentices at Bellinis workshop and they collaborated on numerous paintings, and their styles could be so similar that it is difficult to conclusively assign authorship. This emphasis on nature as a setting was a contribution of the Venetian School. Titian, through his long and productive life, with a variety of themes and subjects was the most influential. His early Pesaro Madonna shows a new composition for such a traditional religious subject, putting the focal point of the Madonna off from the centre. Although pre-figured by the Sleeping Venus Titian is credited with establishing the female nude as an important subgenre in art. Using mythological subjects, works such as the Venus of Urbino richly depict the fabrics and other textures, and use a composition that is carefully controlled by organising colours. As an example, in painting the diagonal of the nude is matched by the opposite diagonal between the red of the cushions in the front with the red skirts of the woman in the background. With such paintings, readily transported by virtue of being oils on canvas, Titian became famous, although Tintoretto is sometimes classified as a Mannerist artist, he also incorporates Venetian and individualistic aspects. In his Miracle of the Slave, the Mannerist features include the scene, the twisting linking of figures. Following Tintoretto, were Veronese, and the Bassano and these are a few of the most outstanding in the great number of artists in the Venetian tradition, many originally from outside the Republics territory. List of painters and architects of Venice References Sources Gardners, Art Through the Ages—International Edition, Brace Harcourt Jovanovich, maria Dolores Jimenez-Blanco, Museo National Del Prado, English 2nd revised edition,2009. Federico Zeri, Elizabeth E. Gardner, Italian Paintings, Venetian School, A Catalogue of the Collection of the Metropolitan Museum of Art
8.
Gentile Bellini
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Gentile Bellini was an Italian painter of the school of Venice. He came from Venices leading family of painters, and at least in the part of his career was more highly regarded than his younger brother Giovanni Bellini. In 1479 he was sent to Constantinople by the Venetian government when the Ottoman Sultan Mehmed II requested an artist, thereafter a number of his subjects were set in the East, and he is one of the founders of the Orientalist tradition in Western painting. His portrait of the Sultan was also copied in paintings and prints and he was christened Gentile after Jacopos master, Gentile da Fabriano. Gentile was taught painting in the workshop of his father, Gentiles earliest signed work is The Blessed Lorenzo Giustinian, one of the oldest surviving oil paintings in Venice. During the 1450s Bellini worked on a commission for the Scuola Grande di San Marco and painted in conjunction with his brother, from 1454 he was also the official portrait artist for the Doges of Venice. Much of Gentile Bellini’s surviving work consists of large paintings for public buildings. The commission was intended to celebrate the relic of the Holy Cross which the confraternity had received in 1369, Venice was, at that time, a very important point in which cultures and trade bordered on the eastern Mediterranean Sea and provided gateways to Asia and Africa. As noted, in his lifetime, Gentile was the most prestigious painter in Venice, therefore, in 1479, he was chosen by the government of Venice to work for Sultan Mehmed II in Constantinople. However, in addition to his work at the Ottoman Court, Gentiles work also responded to other aspects of the East, in September 1479 Gentile was sent by the Venetian Senate to the new Ottoman capital Istanbul as part of the peace settlement between Venice and the Turks. His role was not only as a painter in an exotic locale. This was important to Mehmed II, as he was interested in the art and culture of Italy. He finally reached his goal with Gentile, who is believed to have painted the portrait of Mehmed II now in the National Gallery, London. It has been noticed that the portrait is one of the figures in a painting by Marco Palmezzano. So the dating and authorship of the portrait by Bellini have been placed in question, subsequently, an Oriental flavour appears in several of his paintings, including the portrait of a Turkish artist and St. Mark Preaching at Alexandria. The last was completed by his brother, Giovanni Bellini, according to Carlo Ridolfi in his 1648 history of the Venetian artists, Bellini made a painting of the head of John the Baptist on a charger, the saint being revered by the Turks as a prophet. Gentile, fearful at such barbarities, immediately tried in every way to be released from his contract in one day he himself should be the victim of such a joke. This anecdote is likely apocryphal, as a story had been told by Seneca of Parrhasius
9.
Legend of Saint Ursula
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The Legend of Saint Ursula is a series of large wall-paintings on canvas by the Italian Renaissance artist Vittore Carpaccio, originally created for the Scuola di SantOrsola in Venice. They are now in the Gallerie dellAccademia in Venice and this was not one of the six Scuole Grandi of Venice, but a similar confraternity. On her way home, at Cologne, she was martyred by Attila, King of the Huns, together with her following of 10,000 virgins. The first two paintings, despite depicting the first events of the cycle, were the last to be painted, the first painting is set in an open pavilion, and its scene, divided into three parts, is read from right to left. The scene is reminiscent of the drama of the period. On the right Ursula and her father are portrayed talking, sitting on the first step of a staircase leading to the interior is her nurse, the central scene portrays the meeting between the king and the ambassadors. In the background is a planned temple and other imaginary buildings. On the left, in the foreground under a loggia, is a marine panorama with a galleon, among the spectators are characters wearing the crest of the Compagnia della Calza, a Venetian confraternity which organized events and spectacles during Carnival and other religious celebrations. The second painting, smaller in size, depicts, in an interior, another court meeting. A scribe in the background is writing the reply for Ursulas prince, the third painting portrays the ambassadors of Brittany received in an open pavilion, with an imaginary city in the background, also resembling contemporary Venetian architecture. The painting is divided in two by a pennant, immediately at its left, sitting on a parapet, is Antonio Loredan, member of the Compagnia della Calza and commissioner of the work. In the background is the departure for the pilgrimage, with an imaginary Breton/British city characterized by Renaissance, the canvas illustrates the saint sleeping in the nuptial bed, alone, an allusion to the impossibility of the marriage. While she is sleeping, an angel enters the room while a rose sunray illuminates it, the angel is carrying the news of her upcoming martyrdom. The interior is portrayed with realism, such as in the furniture and the flowers, the latter, a myrtle. The inscription DIVA FAUSTA, located under Herculess statue, indicates the nature of the divine message. The angel brings purity and clears the saints mind, the prince respects the pact with St. Ursula, accompanying her in pilgrimage to Rome. Here, outside the walls, the pilgrims are welcomed by the Pope. Here too the ceremonial is reminiscent of the Venetian ones, and this painting is dated 1490, and is the first executed by Carpaccio for the cycle
10.
Italian Renaissance painting
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The city of Florence in Tuscany is renowned as the birthplace of the Renaissance, and in particular of Renaissance painting. A detailed background is given in the companion articles Renaissance and Renaissance architecture, Italian Renaissance painting can be divided into four periods, the Proto-Renaissance, the Early Renaissance, the High Renaissance, and Mannerism. These dates are approximations rather than specific points because the lives of individual artists, the Proto-Renaissance begins with the professional life of the painter Giotto and includes Taddeo Gaddi, Orcagna and Altichiero. The Early Renaissance was marked by the work of Masaccio, Fra Angelico, Paolo Uccello, Piero della Francesca, the High Renaissance period was that of Leonardo da Vinci, Michelangelo, Raphael and Titian. The Mannerist period included Andrea del Sarto, Pontormo and Tintoretto, Mannerism is dealt with in a separate article. The influences upon the development of Renaissance painting in Italy are those also affected Philosophy, Literature, Architecture, Theology, Science, Government. The following is a summary of points dealt with more fully in the articles that are cited above. A number of Classical texts, that had been lost to Western European scholars for centuries and these included Philosophy, Poetry, Drama, Science, a thesis on the Arts and Early Christian Theology. The resulting interest in Humanist philosophy meant that mans relationship with humanity, a revived interest in the Classics brought about the first archaeological study of Roman remains by the architect Brunelleschi and sculptor Donatello. Simultaneous with gaining access to the Classical texts, Europe gained access to advanced mathematics which had its provenance in the works of Byzantine and Islamic scholars. The advent of movable type printing in the 15th century meant that ideas could be disseminated easily, the development of oil paint and its introduction to Italy had lasting effects on the art of painting. The establishment of the Medici Bank and the subsequent trade it generated brought unprecedented wealth to a single Italian city, Cosimo de Medici set a new standard for patronage of the arts, not associated with the church or monarchy. A similar heritage of artistic achievement occurred in Venice through the talented Bellini family, their influential inlaw Mantegna, Giorgione, Titian, much painting of the Renaissance period was commissioned by or for the Catholic Church. These works were often of large scale and were frequently painted in fresco of the Life of Christ. There were also many paintings on the theme of Salvation. Churches also commissioned altarpieces, which were painted in tempera on panel, apart from large altarpieces, small devotional pictures were produced in very large numbers, both for churches and for private individuals, the most common theme being the Madonna and Child. Throughout the period, civic commissions were also important, during the 15th century portraiture became common, initially often formalised profile portraits but increasingly three-quarter face, bust-length portraits. Portraiture was to become a subject for High Renaissance painters such as Raphael and Titian
11.
Antonello da Messina
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His work shows strong influences from Early Netherlandish painting although there is no documentary evidence that he ever travelled beyond Italy. Giorgio Vasari credited him with the introduction of oil painting into Italy, unusually for a south Italian artist of the Renaissance, his work proved influential on painters in northern Italy, especially in Venice. Antonello was born at Messina around 1429–1431, to Giovanni de Antonio Mazonus and this account of his training is accepted by most art historians. Antonello returned to Messina from Naples during the 1450s, in around 1455 he painted the so-called Sibiu Crucifixion, inspired by Flemish treatments of the subject, which is now in the Muzeul de Artǎ in Bucharest. A Crucifixion in the Royal Museum of Antwerp dates from the same period, in his biography of the artist, Giorgio Vasari remarked that Antonello saw an oil painting by Jan Van Eyck belonging to King Alfonso V of Aragon at Naples. Another theory, supported only by vague documentary evidence, suggests that in 1456 Antonello visited Milan, however, neither is known for certain to have been in Milan at the time. Between the years of 1456 and 1457, Antonello proved himself to be a painter in Messina. He also shared his home with Paolo di Ciacio, a student from Calabria, at this date, he was already married, and his son Jacobello had been born. In 1460, his father is mentioned leasing a brigantine to bring back Antonello, also from around 1460 are two small panels depicting Abraham Served by the Angels and St. Jerome Penitent now in the Museo Nazionale della Magna Grecia in Reggio Calabria. In 1461 Antonellos younger brother Giordano entered his workshop, signing a three-year contract, in that year Antonello painted a Madonna with Child for the Messinese nobleman Giovanni Mirulla, now lost. Historians believe that Antonello painted his first portraits in the late 1460s, john Pope-Hennessy described him as the first Italian painter for whom the individual portrait was an art form in its own right. In 1474, he painted the Annunciation, now in Syracuse, Antonello went to Venice in 1475 and remained there until the fall of 1476. His works of this begin to show a greater attention to the human figure. His most famous pictures from this include the Condottiero, the San Cassiano Altarpiece. While in Venice he was offered, but did not accept, Antonello had returned to Sicily by September 1476. Works from near the end of his include the famous Virgin Annunciate, now in the Palazzo Abatellis in Palermo. He died at Messina in 1479 and his testament dates from February of that year, and he is documented as no longer alive two months later. Some of his last works remained unfinished, but were completed by his son Jacobello, Antonellos style is remarkable for its union of Italian simplicity with Flemish concern for detail
12.
Early Netherlandish painting
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Their work follows the International Gothic style and begins approximately with Robert Campin and Jan van Eyck in the early 1420s. It lasts at least until the death of Gerard David in 1523, the major Netherlandish painters include Campin, van Eyck, Rogier van der Weyden, Dieric Bouts, Petrus Christus, Hans Memling, Hugo van der Goes and Hieronymus Bosch. These artists made significant advances in natural representation and illusionism, and their subjects are usually religious scenes or small portraits, with narrative painting or mythological subjects being relatively rare. Landscape is often richly described but relegated as a background detail before the early 16th century, the painted works are generally oil on panel, either as single works or more complex portable or fixed altarpieces in the form of diptychs, triptychs or polyptychs. The period is noted for its sculpture, tapestries, illuminated manuscripts, stained glass. Assisted by the system, panels and a variety of crafts were sold to foreign princes or merchants through private engagement or market stalls. A majority were destroyed during waves of iconoclasm in the 16th and 17th centuries, Early northern art in general was not well regarded from the early 17th to the mid-19th century, and the painters and their works were not well documented until the mid-19th century. Art historians spent almost another century determining attributions, studying iconography, attribution of some of the most significant works is still debated. These artists became a driving force behind the Northern Renaissance. In this political and art-historical context, the north follows the Burgundian lands which straddled areas that encompass parts of modern France, Germany, Belgium, the Netherlandish artists have been known by a variety of terms. Late Gothic is a designation which emphasises continuity with the art of the Middle Ages. In the early 20th century, the artists were variously referred to in English as the Ghent-Bruges school or the Old Netherlandish school. In this context, primitive does not refer to a lack of sophistication. When the Burgundian dukes established centres of power in the Netherlands, in the 19th century the Early Netherlandish artists were classified by nationality, with Jan van Eyck identified as German and van der Weyden as French. Scholars were at times preoccupied as to whether the schools genesis was in France or Germany, in the 14th century, as Gothic art gave way to the International Gothic era, a number of schools developed in northern Europe. Early Netherlandish art originated in French courtly art, and is tied to the tradition. Modern art historians see the era as beginning with 14th-century manuscript illuminators and this patronage continued in the low countries with the Burgundian dukes, Philip the Good and his son Charles the Bold. The demand for illuminated manuscripts declined towards the end of the century, following van Eycks innovations, the first generation of Netherlandish painters emphasised light and shadow, elements usually absent from 14th-century illuminated manuscripts
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