19 Facts About Venetian Renaissance

Venetian Renaissance had a distinct character compared to the general Italian Renaissance elsewhere.

The influence of Venetian art did not cease at the end of the Renaissance period.

The Venetian Renaissance style exerted great influence upon the subsequent development of Western painting.

Rest of Italy tended to ignore or underestimate Venetian Renaissance painting; Giorgio Vasari's neglect of the school in the first edition of his Lives of the Most Excellent Painters, Sculptors, and Architects in 1550 was so conspicuous that he realized he needed to visit Venice for extra material in his second edition of 1568.

At the top, princely, level, Venetian Renaissance artists tended to be the most sought-after for commissions abroad, from Titian onwards, and in the 18th century most of the best painters spent significant periods abroad, generally with great success.

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Traditional methods of the Byzantine style persisted even in the painting faction until around 1400 before the dominant style began to shift towards International Gothic and Italian Venetian Renaissance first brought into Venice by Paduan Guariento di Arpo, Gentile da Fabriano and Pisanello when they were commissioned to ornament the frescoes of the Doge's Palace.

Venetian Renaissance elite had a collective belief in the importance of architecture in bolstering confidence in the Republic, and a Senate resolution in 1535 noted that it was "the most beautiful and illustrious city which at present exists in the world".

Venetian Renaissance fled to Venice after the catastrophic Sack of Rome in 1527 and in 1529 was appointed chief architect and superintendent of properties to the Procurators of San Marco.

Venetian Renaissance created the appearance of much of the area around the Piazza San Marco beyond Basilica of San Marco itself, designing the Biblioteca Marciana and mint or "Zecca" on the Piazzetta di San Marco.

Venetian Renaissance's palazzi include Palazzo Corner della Ca' Grande and Palazzo Dolfin Manin from 1536.

Principal architect of the later Venetian Renaissance, was Andrea Palladio, who was the key figure in later Italian Renaissance architecture, and its most important writer on architecture.

Venetian Renaissance designed many villas in the Veneto, in Vicenza and a series of famous country houses, relatively small compared to some further south, for the Venetian elite.

Venetian Renaissance designed the Procuratie Nuove on the Piazza San Marco, and completed many projects Palladio had left incomplete.

Venetian Renaissance's pupil Baldassare Longhena, who was for a change born in the city, in turn completed Scamozzi's projects and, while he introduced a full-blown Baroque architecture to Venice, many buildings, especially palaces, continued to develop a Baroque form of the Venetian Renaissance style.

Venetian Renaissance had worked in the city as an architect, but left little mark.

The patrician humanist, clergyman and Venetian Renaissance diplomat Daniele Barbaro was a patron of Palladio, and Palladio illustrated his Italian translation of Vitruvius .

In music history, the "Venetian Renaissance School" was the body and work of composers working in Venice from about 1550 to around 1610, many working in the Venetian Renaissance polychoral style.

Peak of development of the Venetian Renaissance School was in the 1580s, when Andrea and Giovanni Gabrieli composed enormous works for multiple choirs, groups of brass and string instruments, and organ.

Venetian community in the Renaissance was constructed on the emphasis on the relationships between neighbours, ritual brothers and kinsmen all living together in equality from the upper and lower social class.