By Terisio Pignatti
Works through Bellini, Tintoretto, and different Venetian Renaissance artists are reproduced and observed via brief biographies and commentaries
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Chants of Niirnberg, the other of are the Flagellation of Christ, San Pietro in Montorio, 1516—24; the number became more austere handled by the vicar, may have been financed by the fraternities. St. Louis based on High Renaissance the panels of Toulouse (1274— 1297) of the house of Anjou never became truly Mannerist. was the great nephew of Louis France and son of Charles II ix of of Naples. After seven years as a political hostage in Barcelona, he nounced his heritage to Franciscan friar minor re- become in 1295.
Naturally, the Venetian school has benefitted Venetian from the most meticulous cataloging art. in Italy as well: Moschini Marconi's exhaustive catalogs of Venetian paint- Academy should be mentioned, along with ings in the the Terisio Pignatti between 1957 and 1978 by the Giorgio Cini Foundation on the paintings in the museums University of Venice of Venice and the Veneto (Bassano, Padua, Treviso, Venice, Director Emeritus Vicenza). of the Civic entire series published of Venice an immediate effect on scientific research of Finally, the broadened interest of collectors and Venetian school is museums in the monographs on the recent flourishing of the major artists, most of whom are included in the pres- ent exhibition.
About 1515 he turned, Pommersfel- A. Venturi(i92 8),L. Venturi(i93i), Marchese (c. Paris, Crowe and the female figure Louvre a tortuous one. was believed it Cariani, a 1509), and the left den is in the castle at gione. In 1867, the year of altarpiece in San Giovanni Crisos- precisely forthesincere admiration his influence, to large paintings in on the of Giorgione and later of Titian, and possibly under history of the attribution of this painting Giorgione's aristocratic circle nor did he evince interest in as Titian did The the male figure recalls in a rather in Titian's Allegory of the Throughout della Carita in Venice.