Abstract
Various elements are to be met with in the earliest manifestations of cosmopolitan art in Venice; they are the transformation of the art of painting of the 14th century with Niccolo di Pietro, who was mentioned in Vol. IV as the latest representative of that group, and the influence of Gentile da Fabriano, who, as we know, was already in Venice in 1408, that is to say at the beginning of Jacobello del Fiore’s pictorial activity, who was the earliest Venetian artist to adopt the Gothic style of the 15th century.
F. Sansovino, Venetia citta nobilissima etc. discritta, Venice, 1581. Zanitta, Della pittura veneziana etc., Venice, 1771. P. Paoletti di Osvaldo, Raccolta di documenti inediti per servire alla storia della pittura veneziana nei secoli XV e XVI, Padua, 1895. L. Venturi, Le origini della pittura veneziana, Venice, 1906, p. 80. L. Testi, Storia della pittura veneziana, I, Bergamo, 1909, p. 391; II, 1915, pp. 9, 80. G. Ludwig, Archivalische Beiträge zur Gesch. der Ven. Kunst: Ital. Forschungen, IV, Berlin, 1911. Crowe and Cavalcaselle, A History of Painting in North Italy, ed. Tancred Borenius, I, London, 1912, p. 1.
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Reference
Sirén, Burlington Magazine, XXXIX, 1921, p. 169. v. Metropolitan Museum Bulletin, June 1923.
Caffi, Giacomello del Fiore, pittore veneziano, Archiv. stor. Ital., 4th serie. 1880 p. 440.
This is especially probable since the inscription only mentions as his son, Jacobello, although, as we shall see further on, he had other children.
Bottari ed. Picozzi, Lettere sulla pittura, Milan, 1922, p. 498 (Crowe and Cavalcaselle, op. cit., p. 3 note 3).
L. Lanzi, The History of Painting in Italy, translated by Th. Roscoe, 2nd ed., II, London, 1847, p. 86.
Vasari-Milanesi, III, pp. 639 and 659. Mas Latrie, Bibl. de l’Ecole des Chartres, XXX, p. 195 and Gazette des Beaux Arts, XIX, 1865, p. 272. Caffi, Sui pittori veneziani del Milletrecento, Arch. Ven., XXXV; Gazetta di Venezia, 21st Aug., 2nd Sept. 1875; Arte e Storia, 1890, p. 111. Cecchelti, Arch. Veneto, XXXIII, 1887, p. 52. G. Della Monica, Un opera di Jacobello o. Giacomello del Fiore a Teramo, Arte e Storia, 1890, p. 141. Cavacchiali, Repert. f. Kunstwiss., XVII, 1894, p. 267; Rassegna d’Arte, I, 1901, p. 151; Rivista Abruzzese, I, 1932, p. 442. G. Lorenzetti, L’Arte. 1910, p. 137. G. Ludwig, op. cit., p 92. Valentini, Boll. d’Arte del Minist. della Pubbl. Istr., VII, 1913, p. 272. L. Planiscig, Jacopello dal Fiore, Jahrb. der Kunsthist. Samml. in Wien, Neue Folge, I, 1926, p. 83.
I do not know for what reason Sansovino mentions only the year 1418 as date of Jacobello’s activity.
A. Ricci, Memorie storiche delle arte e degli artisti della Marca di Ancona, mentions a Madonna by Jacobello in the church of S. Arcangelo, near Rimini, showing the date 1385, which does not correspond with the time of our artist’s activity.
Which some writers have wished to identify with the series of saints, now in the gallery of that town.
Lanzi provides us with these facts, telling us that the signature ran: “Jacometto de Flor”; others have read the date as 1408, v. Ricci, op. cit., I, pp. 205, 224, or even 1407. There seems to be a certain amount of confusion in connexion with this picture and it is not even absolutely sure that it was by our painter.
Vallardi deciphered the signature as: “Giacomo da Firenze.”
Attributed to Jacobello by A. Venturi, Stor. dell’ arte italiana, VII’, p. 298, who reproduces it, fig. 167. Reprod. also in Testi, op. cit., II, pp. 126, 127.
I see no reason to date this picture as late as 1432 as several writers have done.
L. Testi, op. cit., makes a slight mistake in transcribing the signature. At least nowadays there is no trace of the word Teramum or of “Hi…. de…. d….” The name of the town, however, is mentioned in the inscription held by St. Monica.
Solomon, Abraham, Moses, Daniel, Jacob and David.
Planiscig, op. cit.
E.g. by L. Serra, Catalogo della R. Galleria di Venezia, Venice, 1914, p. 9. Catalogo della R. Galleria della Accademia di Veqezia a cura della Direzione, Bologna, 1924, p. 13. In both cases the picture is qualified as unknown Venetian, the former places it in the first half of the 15th century, the latter assigns it to the 14th century.
L. Venturi, Le origini della pittura veneziana, Venice, 1906, p. 84.
C. Rizzi, Emporium, 1903.
Crowe and Cavalcaselle, op. cit., p. 7, speak of frescoes in the hospital of Serravalle, portraying the Evangelists and Fathers of the Church in the ceiling, saints, scenes from the legends of SS. Lawrence and Mark, the Crucifixion and other representations.
Titian’s painting was burnt, but a copy of it exists in the same church.
Boschini, Le riche miniere della pittura veneziana, Venice, 1674, p. 49.
In any case prior to 1449 v. Testi, op. cit., II, p. 39.
G. Ludwig e P. Molmenti, Vittore Carpaccio, Milan, 1906, p. 220.
H. Thode, Andrea Castagno in Venedig, Festschrift für Otto Bendorf, Vienna, 1898. In connexion with this v. also C. Gamba, Un opera ignoto di Andrea del Castagno: il San Teodoro di Venezia, Dedalo, IV, 1923–24, p, 173.
A. Venturi, Stor. dell’ arte ital., VII3, p. 99 which attribution is accepted by Frizzoni.
F. P. Richter, Catalogue of the Mond Collection, London, 1910, P. 54. (2) Fiocco, op. cit. ( Dedalo ), P. 443.
Signor Testi calls the picture in Padua, a copy of that in New York.
C. C. McN. Rushforth, Two Pictures by Giambono, Burlington Magazine, XX, 1911–12, p. 100.
The figure has no halo; he has wrongly been taken for St. Bernardine of Siena which, had it been correct, would have dated the polyptych from not before about 1450.
Burlington Magazine, Nov. 1925, advertisement.
Attributed to Jacopo Bellini by G. Fogolari, Boll. dell Mus. Civ. di Bassano, 1903, p. 73, which attribution is accepted by C. Ricci in his recension of Fogolari’s article in L’Arte, 1905, p. 75.
G. Ludwig, Jahrb. der K. Preus. Kunstsamml., XXIV, 1903; Beiheft, p. 32.
Burlington Magazine, March 1912, p. 200.
Burlington Fine Arts Club, Early Venetian Pictures and other Works of Art, London, 1912, p. 20 and pl. II.
G. Frizzoni, Le gallerie dell’ Accademia Carrara in Bergamo, Bergamo, 1907, figs 62 and 63.
By A. Venturi and by G. Fogolari.
C. Ricci, Raccolte artistiche di Ravenna, Bergamo, 1905, p. 26, sees the resemblance between this picture and the two in Bergamo and goes very near to ascribing them to Jacopo Bellini. Testi, op. cit., II, p. 281, notices this resemblance, in the case of the Crucifixion in particular, and is of opinion that the two martyrdom scenes are Venetian works of the same artistic movement.
B. Berenson, The Study and Criticism of Italian Art, I, London, 1912, p. 94.
W. Burges, La Ragione de Padoue, Annales archéologiques. XVIII, p. 331; XXVI, pp. 189 and 250. A. Moschetti, Gli antichi restauri e il ritrovamento degli affreschi originali nella Sala della Ragione di Padova, Boll. d. Mus. Civ. di Padova, XIII, facs. 1–3. P. D’ Ancona, L’Uomo e le sue opere, Florence, 1923, p. 82. The latter has with reason contested Burges’ opinion that we are dealing here with illustrations of Pietro d’Abano’s writings on astrology.
Beschreib. Verzeichnis der ilium. Hss. in Österreich, V. H. Tietze, Die illuminirten Hss. der Rossiania in Wien-Lainz, Leipzig, 1911, No. 194.
A. Venturi, Il libro di Giusto per la cappella degli Eremitani in Padova, Le Gallerie Nazionali Italiane, IV, 1899. The Same, Il libro dei disegni di Giusto, idem, V, 1902. The Same, L’Arte, 1903, p. 79. J. von Schlosser, Zur Kentniss der Künstlerische Ueberlieferung in späteren Mittelalter; Jahrb. der Kunsthist. Samml. des Allerh. Kaiserh., XXIII, 1903. v. Vol. IV, p. 172.
F. Wickhof u M. Dvorak, Beschreib. Verzeich. der III. Hss. in Österreich, VII. H. Folnesics, Die Ill. Hss. in Istrië und der Stadt Triest, Leipzig, 1917, No. 20.
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van Marle, R. (1926). Venice, Padua and Dalmatia. In: The Development of the Italian Schools of Painting. Springer, Dordrecht. https://doi.org/10.1007/978-94-015-2794-1_4
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