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Minor Painters, Some Mosaicists and “Madonneri”

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The Development of the Italian Schools of Painting

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Abstract

In Venice, as in many centres where the art of painting reached a high standard, there was a group of craftsmen who satisfied the requirements of the more modest classes of society and frequently also those of the inhabitants of the small towns in the Veneto.

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Reference

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  4. Ludwig u. Paoletti, op. cit., give the date as 1486. Testi, op. cit., as 1478.

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  5. Ludwig e Molmenti, op. cit., suppose that the mysterious word “Bnect” might be a restorer’s deformation of “Venecti”.

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  7. It led Testi,op. cit., and others to believe that the frescoes in the apsidal vault of the chapel, now known to be by Andrea del Castagno, and Francesco da Faenza, were the work of these painters. Fiocco,L’arte di Andrea Mantegna, Bologna, 1927, p. 65 et seq. See also Vol. X, p. 339.

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  15. Testi,op. cit., gives all the dates.

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  16. Berenson,Venetian Painting in America, p. 64. A considerable number of pictures has been attributed without any reason to Andrea or to him in collaboration with Bartolomeo Vivarini, v. Testi, loc cit. and Fogolari,op. cit. To the combined efforts of the two artists are ascribed: the polyptych, now generally believed to be by Giambellino, in SS. Giovanni e Paolo and the four triptychs from the Carità church, likewise early works by Giovanni Bellini (Paoletti) A Resurrection, with the false signature Andre De Mura… 1446(?),was at one time exhibited in the gallery of Venice, but it has been taken away. Andrea has also been held responsible for the Madonna with SS. Peter and Paul in the sacristy of S. Niccolô in Treviso and for the Saviour between SS. Augustine and Francis in the Accademia of Venice (614, 620, 622), which have been ascribed to Bartolomeo as well, but which are now correctly classified as productions of the Paduan school. Of the lost works, besides the altar-piece executed in collaboration with Bartolomeo for the Scuola Grande di S. Marco, there was, according to Vinc. Zanetti,Guida di Murano, a picture by Andrea in Sta. Chiara, Murano, while Moschini,Guida per]’Isola di Murano, p. 122, tells us that in some notes of Cay. De Lazaro there is mention of a signed Madonna in a private house (Testi,p. 540). I have already referred to the mistakes made by Testi and others regarding the frescoes by Castagna and Francesco da Faenza in the S. Tarasio chapel, which they thought had been executed by Andrea da Murano, Bagnolo, etc.

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  17. Testi, op. cit., II, p. 87, with bibliography.

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  18. Lanzi,ed. 1795–1798 II, p. 23, finds that the work deserves more praise on account of its colours than for its design.

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  20. The documents are given by Graselli,Abecedario biografico dei pittori cremonesi etc., Milan, 1827, p. 242. The frescoes, which were afterwards white-washed, are described by R. de Soresina Vidoni,La pittura cremonese descritta, Milan, 1824, p. 124.

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  22. The subjects are described in Crowe and Cavalcaselle,loc. cit.

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  26. The documents are published by Ludwig, op cit., p. 108. Lanni and Federici mention the painting as a self-portrait by Carpaccio. Reprod. in Ludwig e Molmenti,Carpaccio, p. 49.

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  27. Modigliani,in Thieme-Becker, Künstlerlexikon, wrongly quotes Baruf faldi,Vite de’ pittori e scultori ferraresi, II, p. 585, where there is no mention of Antonio da Venezia.

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  28. B. Cechetti, Archiv. Venet., XXXIII, 1887, p. 204; XXXIV, 1880, P. 400.

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  29. P. Saccardo, Les mosaïques de St. Marc à Venise, 1897, pp. 32–44, 246, 248, 254, 263, 276, 284, 287.

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  30. The same in Italian: La Basilica di S. Marco etc. sotto la direzione di C.Boito, I, Venice, 1888, p. 306 et seq.

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  33. For Veneto-Byzantine painting v. S. Bettini,La pittura di icone cretese-veneziana e i Madonneri, Padua, 1833. Also O. Wulff u. M. Alpatof f,Denkmäler der Ikonenmalerei, Hellerau, 1925, p. 219. Ph. Schweinfurth,Gesch. der Russischen Malerei, The Hague, 1930, pp. 354–452 (more especially p. 397).

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  34. Bettini, op cit., pl. 4, reproduces one in the Rampazzo collection, Padua. There exists quite a number of similar Madonnas of equally good quality.

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Authors
  1. Raimond Van Marle
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© 1936 Springer Science+Business Media Dordrecht

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Van Marle, R. (1936). Minor Painters, Some Mosaicists and “Madonneri”. In: The Development of the Italian Schools of Painting. Springer, Dordrecht. https://doi.org/10.1007/978-94-015-2815-3_8

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  • DOI: https://doi.org/10.1007/978-94-015-2815-3_8

  • Publisher Name: Springer, Dordrecht

  • Print ISBN: 978-94-015-1674-7

  • Online ISBN: 978-94-015-2815-3

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