25 Facts About Vittore Carpaccio

Vittore Carpaccio's works ranged from single pieces painted on canvas to altarpieces and large pictorial cycles.

Vittore Carpaccio is perhaps known best for his large urban scenes, such as the Miracle of the Relic of the Cross at the Ponte di Rialto.

Vittore Carpaccio was born in Venice, the son of Pietro Scarpaza, a Venetian furrier in the parish of Arcangelo Raffaele.

Vittore Carpaccio came from a family originally from Mazzorbo, an island in the diocese of Torcello.

From 1507 to 1508, Vittore Carpaccio executed the work, St Tryphonius Exorcizing the Demon.

Vittore Carpaccio appears to have been influenced by Cima da Conegliano, as evidenced in the Death of the Virgin from 1508, at Ferrara.

In 1510, Vittore Carpaccio executed the panels of Lamentation on the Dead Christ and The Meditation on the Passion, where the sense of sorrow found in such works by Mantegna is backed by extensive use of symbolism.

Vittore Carpaccio created several more works in Capo d'Istria, where he spent the last years of his life and died.

In 1490, Vittore Carpaccio began The Legend of Saint Ursula, a series of paintings executed for the Scuola di Sant'Orsola depicting the life of the confraternity's patron saint.

Vittore Carpaccio was greatly inspired by the legend, especially its themes of massacre and chronology that brought the story to life.

From 1502 to 1507 Vittore Carpaccio executed another notable cycle of panels for the Scuola di San Giorgio degli Schiavoni which served one of Venice's immigrant communities.

In 1491, Vittore Carpaccio completed the Glory of St Ursula altarpiece, a large scale detachable wall-painting painted for the hall of one of the Venetian scuole, which were charitable and social confraternities.

The expectations and artistic demands had changed, resulting in Vittore Carpaccio's style seeming outmoded in comparison.

Vittore Carpaccio never altered his style to keep up with these new innovations.

Vittore Carpaccio increasingly turned to the assistance of his sons Pietro and Benedetto, his principal pupils.

Vittore Carpaccio spent his final years in this Slovenian town, where he died between 1525 and 1526.

Vittore Carpaccio was one of the first artists to include a cartellino into his paintings; he inserted it into select pieces in a way that made it appear as if the artist had left it there without thought.

Vittore Carpaccio was observed to have played with the vanishing point in his works.

Vittore Carpaccio paid special attention to architecture, depicting buildings precisely and accurately to ensure that his paintings reflected the new architectural elements in Venice.

Vittore Carpaccio transformed from being a member of a small furrier merchant family to being a prominent artist in Italy, with some scholars comparing his stature to Gentile Bellini.

Unlike Bellini, Vittore Carpaccio worked mostly in what has been described as a more conservative-style of painting, a contrast to the growing humanist tendencies that were a prominent influence on other painters in Italy during his lifetime.

Vittore Carpaccio received modest acclaim during his lifetime, only occasionally creating works for the Venetian nobility.

Vittore Carpaccio was commissioned to create mainland works for Bergamo's parish church of Grumello de' Zanchi and a scuole in Udine.

Similarly, in Giorgio Vasari's 1568 series Le vite de' piu eccellenti pittori, scultori e architettori, Vittore Carpaccio appeared at the forefront of a list of Venetian painters.

Interest in Vittore Carpaccio resurged in the nineteenth century as English writer and art critic John Ruskin celebrated the Venetian painter's attention to detail.