The Venetian School of Painting History and Style of the artisits

Venetian School Of Painting

“The Miracle of the Loaves and Fishes” by Jacopo Tintoretto , Jacob Tintoretto was one of the greatest painters of the Venetian School

The Venetian School of Painting History and Style

According to Art Historian, Evelyn March Phillipps "The difference which separates Venetian from the rest of Italian painting is a fundamental one. Venice attains to an equally distinguished place, but the way in which she does it and the character of her contribution are both so absolutely distinct that her art seems to be the outcome of another race, with alien temperament and standards. Venice had, indeed, a history and a life of her own. Her entire isolation, from her foundation, gave her an independent government and customs peculiar to herself, but at the same time her people, even in their earliest and most precarious struggles, were no barbarians who had slowly to acquire the arts of civilised life. Among the refugees were persons of high birth and great traditions, and they brought with them to the first crazy settlement on the lagoons some political training and some idea of how to reconstruct their shattered social fabric. The Venetian Republic rose rapidly to a position of influence in Europe. Small and circumscribed as its area was, every feature and sentiment was concentrated and intensified. But one element above all permeates it and sets it apart from other European States. The Oriental element in Venice must never be lost sight of if we wish to understand her philosophy of art."

Evelyn March Phillipps further states"The whole Venetian School, indeed, does not deal with what we understand as bright colour. Vivid tints are much more characteristic of the Flemish and the Florentine, or, let us say, of the painters of to-day. Strong, crude colours are to be seen on all sides in the Salon or the Royal Academy, but they are absent from the scheme of sombre splendour which has given the Venetians their title to fame. This is especially true of Tintoretto, and it becomes more so as he advances. His gamut becomes more golden-brown and mellow; the greys and browns and ivories combine in a lustrous symphony more impressive than gay tints, flooded with enveloping shadow and illumined by flashes of iridescent light."

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