Venetian School * 16th Century
THE VENETIAN SCHOOL
In the mid 15th century, Venice was a thriving Republic, enjoying a healthy trade economy. Venices prosperity allowed it to support the art and artists. The Republic was filled with decorative artists, architects, and traditional artist guilds. The areas location did not allow much outside influence, permitting the Venetian artists to develop their own style revolving around light and color.
In addition to an emphasis on light, Venetian painters also had a distinctive smooth brushstroke. The artists embraced oil painting for its durability, helping to increase the mediums popularity. The Venetian School was minorly influenced by Mannerism, employing its vivid dramatic aspects rather than the emotion that characterizes mannerist art. The Venetian school was comprised of Renaissance artists, particularly painters who employed aspects of light and color. Founders of the Venetian School were the Bellini and Vivarini families. Other significant artists included Andrea Mantegna, Giorgione, Titian, Tintoretto, and Paolo Veronese.
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The death of the Virgin (Oil on Canvas)
Good Condition. Traces of a thin varnish visible. Labelled on the verso No.316/4 Ch 9/5/58 Schiavone. In a north Italian Giltwood and Polycrome painted Cassetta Frame second half of the16th Century, also in good condition. Measurements Painting: 29.4 x 29.4cm (approx 11.5 x 11.15 inches); Framed: 41.2 x 41.2cm (approx 16.1 x 16.1 inches)
The death of the Virgin
Despite the obvious quality of this picture, there is as yet no consensus as to its attribution. It was certainly painted in Italy, most likely during the last decade of the sixteenth century. Thus later than during the life time of Andrea Meldolla known as Lo Schiavone (1520 1563), to whom the painting was traditionally attributed (Christies Lot 78 on 9th May 1958).
Eminent art historians of the Venetian School have independently proposed tentative attributions recently to Palma Giovane (1544-1626), Alessandro Maganza (1556-1640) and Claudio Ridolfi (1570-1644). Another art historian however, believes that it might be an artist from Ferrara, a follower of Lo Scarsellino (1550-1620) or perhaps Gaspare Venturini (1573-1596), in whose work one sees the sort of expressive composition.
The style of the painting and the construction of the figures correspond to a so called reformed mannerism, without the elements which have characterised the mannerism style of painting before the Council of Trent. The Marian cycle to which it belongs is particularly followed between 1560 and 1580, prior to the diffusion of the themes linked to the so called Mysteries of the Rosary which became an iconographic fashion from the Battle of Lepanto and from the devotion which was diffused by the domenicans after 1571.
Acquired by a private Collector in the USA
