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Two Venetian Ladies is an oil on panel painting by the Italian Renaissance artist Vittore Carpaccio. The painting, believed to be a quarter of the original work, was executed around 1490 and shows two unknown Venetian ladies. The top portion of the panel, called Hunting on the Lagoon is in the Getty Museum, and another matching panel is missing.
Calcagnetti (Chopine)- Correr Museum. A chopine is a type of women's platform shoe that was popular in the 15th, 16th and 17th centuries. Chopines were originally used as a patten, clog, or overshoe to protect shoes and dresses from mud and street soil. In Venice both courtesans and patrician women frequently wore chopines c. 1400 to 1700.
Giovanna Garzoni was born in 1600 in Ascoli Piceno in the Marche district of Italy to Giacomo Garzoni and Isabetta Gaia. [10] Both of Garzoni's parents were of Venetian origin and are believed to have come from a long line of Venetian painters - a fact that is often disputed. [2]
Portrait of a Young Venetian Woman, 1505. Kunsthistorisches Museum, Vienna. 35 x 26 cm. Portrait of a Young Venetian Woman is a small bust-length oil on elm panel painting by the German artist Albrecht Dürer from 1505. [1] It was executed, along with a number of other high-society portraits, during his second visit to Italy.
Venetian painting was a major force in Italian Renaissance painting and beyond. Beginning with the work of Giovanni Bellini (c. 1430–1516) and his brother Gentile Bellini (c. 1429–1507) and their workshops, the major artists of the Venetian school included Giorgione (c. 1477–1510), Titian (c. 1489–1576), Tintoretto (1518–1594), Paolo ...
Palma Vecchio is known mainly for religious scenes and portraits of women, and Gould (1975) thinks this example of the latter group characteristic of his style. [ 10 ] [ 11 ] The subject is a young woman of that "opulent voluptuous type" which was much admired in Venice at the beginning of the sixteenth century, and was represented in works by ...
Columbus Museum of Art brings in the stimulating and exciting work of Robin F. Williams and Marie Laurencin, until April 18.
Danaë's pose is consistent throughout the various versions. She is naked or with a draped thigh, lying on a couch with her knees raised and her legs half-parted. The painting is a development of Titian's compositions with a reclining female nude in the Venetian style.