• Contemporary Perceptions of Venetian Painted Altarpieces

    Author(s):
    JILL CARRINGTON (see profile)
    Date:
    2017
    Group(s):
    History of Art
    Subject(s):
    Fifteenth-century art, Renaissance art
    Item Type:
    Conference paper
    Conf. Title:
    Exploring the Renaissace
    Conf. Org.:
    South-Central Renaissance Conference
    Conf. Loc.:
    Raleigh, North Carolina
    Conf. Date:
    March 12-14, 2015
    Permanent URL:
    http://dx.doi.org/10.17613/M6FH6M
    Abstract:
    The present paper is a continuation of research on terminology used in the Renaissance to identify and describe altarpieces. It treats Venetian painted altarpieces from c. 1350 to c. 1500 and follows last year’s study of Florentine and central Italian altarpieces. It focuses on multi-panel works, some of which survive intact, while most have been dismembered, with surviving individual parts appreciated as separate works. The c. 1500 terminus encompasses the transition from the polyptych enclosed in a Gothic-style framework to single-panel works framed by antique-style membering. My interest resides in how such works were perceived by those who commissioned or viewed them in their original state. Geographically Venetian art is defined as comprising works produced by native Venetian artists or those who spent most of their career based in the city, as well as works made for locations in Venice by artists based elsewhere.
    Metadata:
    Status:
    Published
    Last Updated:
    7 months ago
    License:
    All Rights Reserved

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