Lorenzo Lotto Research Articles

Hortus conclusus. La Sacra Famiglia lauretana di Lorenzo Lotto

"Hortus conclusus. The Holy Family of Loreto by Lorenzo Lotto. The contribution is an excerpt from Dalla parte di Lorenzo Lotto. Il ciclo lauretano (On the Side of Lorenzo Lotto: The Loreto Cycle), an essay to be completed soon on the pictorial cycle which Lorenzo Lotto (Venice, 1480-Loreto, 1556) ordered in 1555 in the chapter chapel of the church of Santa Maria di Loreto. This is the painter’s last work for a public destination; due to the difficulties in providing a unitary and coherent interpretation, the cycle risks being expunged from Lotto’s catalogue despite the indication made both by Giorgio Vasari in the 1568 edition of the Vite (Lives) and by Carlo Ridolfi in 1648 in Le Meraviglie dell’arte: ovvero Le vite degl’illustri pittori veneti (The Wonders of Art: The Lives of the Illustrious Venetian Painters). Of the seven works making up the cycle, the Holy Family is one of the five painted before 1550, some of which had to be adapted to harmonize their format. The painter intervened on the Holy Family in order to adapt the content of the painting, originally intended for domestic devotion, and make it suitable for the new destination. Keywords: Lorenzo Lotto, Santa Maria di Loreto, Giorgio Vasari, the Holy Family "

The Art Collector in Early Modern Italy: Andrea Odoni and his Venetian palace

Monika Schmitter’s book takes as its focus the art collector Andrea Odoni, exploring in depth his palace and its decorations, the types of objects and paintings on display, and the famous portrait painting of Odoni by Lorenzo Lotto. Rich in primary sources and well illustrated, Schmitter’s study links extant works (or similar ones) to descriptions of Odoni’s palace and the inventory of its contents. As the first monograph on Odoni, it takes a fairly straightforward and traditional biographical approach, but it is invaluable in its coverage of the uniqueness of the surviving records and works: it provides a whole picture of a collector, the architectural spaces of his palace, and the range of materials and works of art on display. The book is divided into seven chapters, the first two of which explore Odoni’s identity in terms of Venice’s social constitution, and Odoni as immigrant and cittadino. The discussion of the social structure of Venice revisits common ground, but Odoni’s placement within that structure is important in showing how unconventional his collection might have been for a non-noble, and certainly paves the way for more studies that move beyond the elite circles of Venice. The numerous references to Odoni as an immigrant are accurate, but his characterization would have been strengthened by situating him within the larger immigrant community: he came from a Lombard family and thus from a comparatively familiar peninsular setting. No answer is offered to the important question of how Odoni’s identity as a migrant from within the Italian peninsula compares with that of others who might have come from further afield to a global city such as Venice.

Stephen J. Campbell, The Endless Periphery. Toward a Geopolitics of Art in Lorenzo Lotto’s Italy

In recent decades, engagements with Enrico Castelnuovo and Carlo Ginzburg’s seminal and highly influential essay “Centro e Periferia,” have led to one main line of inquiry.1 Studies have mapped out the works of art that populated remote and understudied localities of the pre-modern Italian peninsula, from southern regions to frontier zones, highlighting a rich corpus of artifacts that have long been excluded from the mainstream art history of the period. This scholarship has made clear a simple truth, namely, that the achievements of credited masters active in canonical artistic centres cannot be fully understood if the output by talented peers from peripheral localities continues to be under-evaluated and misconstrued. These studies have not gone far enough, however, in either rethinking or reframing the core assumption of Castelnuovo and Ginzburg’s contribution, that is, the conceptual dualism of centre-periphery that sees centres as sites of artistic innovation and peripheries as places...

Ephemeral Museums in Pandemic Era: Bari and the Museo Provinciale that Was There, that Has Been and Has Never Been

Abstract The proposal introduces the theme of the communicative resilience of exhibitions during the Pandemic Era. On March 7, 2020, Italy and its museums, as well as the countless exhibitions housed in their rooms, were closed leaving hundreds, perhaps thousands, of works without the public: from the paintings of Raphael (Rome, Scuderie del Quirinale), to the tables of the Griffoni Polyptych assembled after three hundred years (Bologna, Palazzo Fava), to the statues of Canova (Rome, Palazzo Braschi), to the Sant’Antonio by Antonio Vivarini and to the San Felice in the chair by Lorenzo Lotto chased by Bernard Berenson in his Apulian ‘pilgrimages’ (Bari, Palazzo Ateneo). Indeed, the latter is the exhibition to which particular attention is paid here. The spaces of the ancient Museum have come back to life with the exhibition “Il Museo che non c’è. Arte, collezionismo, gusto antiquario nel Palazzo degli Studi di Bari 1875-1928”. The exhibition involved lenders institutions such as Villa I Tatti - The Harvard University Center for Italian Renaissance Studies, the Central State Archive in Rome, the Pinacoteca of Bari ‘Corrado Giaquinto’ and several others. The exhibition in Bari was inaugurated on February 28th. After the first five days only the exhibition was closed for the advance of COVID 19 virus. In the ‘great hall’ - as the main space of the ancient Provincial Museum was called - everything remained suspended and perfectly finished: showcases, exhibitors, paintings, statues, clay and stone art objects. However, there was no longer the possibility of letting people, visitors enter. We said that it would have been wonderful to be said that it would have been wonderful to be able to reopen it at least ‘virtually’. And so we did, with an immersive and advanced teaching perspective.

The Endless Periphery: Toward a Geopolitics of Art in Lorenzo Lotto's Italy. Stephen J. Campbell. Louise Smith Bross Lecture Series. Chicago: University of Chicago Press, 2019. xxii + 352 pp. $65.

The Endless Periphery: Toward a Geopolitics of Art in Lorenzo Lotto's Italy. Stephen J. Campbell. Louise Smith Bross Lecture Series. Chicago: University of Chicago Press, 2019. xxii + 352 pp. $65. - Volume 74 Issue 3

Nowo odnaleziony autograf Tomasza Tretera. Notatnik z projektem księgi emblematów

A Newly Discovered Autograph by Tomasz Treter: A Notebook with a Design of a Book of Emblems The goal of the paper is to present the attribution and codicological analysis of a manu- script currently stored at Biblioteca civica Angelo Mai in Bergamo (sign. MM 378). The paper describes the manuscript codicologically, also hypothesizing as to its presence in the Bergamo library. Based on a manuscript annotation on the codex’s upper pastedown, I argue that it was intended as a gift for one of the Załuski family. On the basis of the printed correspondence between Józef Andrzej Załuski and Angelo Maria Querini, it may be assumed that Codex MM 378 was among the parcels containing manuscripts from the circle of Stanisław Hosius that the Italian librarian intended to send to Załuski. The boxes with the codices never reached the Polish librarian due to the tardiness of the messenger, Jacques David Frédéric Perard. It is claimed here that both the inscriptions and images in the code are authored by Tomasz Treter. The manuscript’s attribution was based on palaeographic analysis (comparing the handwriting with Treter’s epistolography stored in the archives in Kraków and Olsztyn). According to the dates included in the code, the inscriptions were made between 20 June 1569 and 2 March 1575. The manu- script thus represents the earliest known evidence of Treter’s artistic activity. The auto- graph contains some previously unknown emblems by Treter, and a preliminary design of the emblem work Symbolica vitae Christi meditatio (published 1612). As many as 51 sketches in the manuscript overlap with the emblematic icons of the 1612 printing, all of which are more symbolic (hieroglyphic) representations of Christian virtues known from Treter’s printing, while there are no sketches of icons in the printed book refer- ring to specific biblical scenes. Therefore, there is still uncertainty about the authorship of these compositions, which also differ in the quality of rendition from the previously mentioned ones. Comparing the autograph with the artist’s later published work offers insight into his technique. The drawings in the manuscript show very clear inspiration of Claude Paradin, Gabriel Syméon, Aneau Barthélemy and Andrea Alciato, which is not always conspicuous in the printed version. The analysis includes the final note, mention- ing imprese with the painter Lorenzo Lotto, which explains correspondences between this artist’s work and the emblems from Symbolica vitae Christi meditatio.

Giovan Francesco Fortunio, giurista, poeta, grammatico, soldato. Due patrie e tre mogli

Though much has already been written on Francesco Fortunio’s Regole grammaticali della volgar lingua (1516), very little has come to light about the author himself, starting with his place and date of birth, and especially the factors leading to his tragic death. After working as a jurist in Pordenone and Trieste, in 1500 Fortunio moved to Venice, and then in 1508 he joined the Trieste Council when it became part of the Serenissima. After the battle of Agnadello, he returned to Venice, and in 1511 sought to defend Treviso with soldiers supplied by his brother Matteo da Zara, a condottiero who alternated between defending Venice and its enemies. Two years after being called back by the Council of Ten, all traces of him were lost, until 1516, when he re-emerged as a civil case judge in Ancona. A few months later he was assassinated. An early widower, Fortunio eventually married a woman from Trieste named Pasuta and shortly thereafter, while still in wedlock he secretly married the Venetian Maria Lotto. The latter was the only close relative of the painter Lorenzo Lotto, and in 1511 Fortunio had defended her against charges of having murdered her first husband. This article focuses on Fortunio’s life, bringing forth new features that are pertinent to literary as well as artistic and historical studies.

The Doubly-Deictic Gaze in a Renaissance Portrait: A Study on Pictorial Narrativity and Storyworld Possible Selves

This study explores pictorial narrativity in Venetian painter Lorenzo Lotto’s Portrait of a Young Man in his Studio (ca. 1527), with attention to the visual representation of mental activity as a prompt for the projection of viewers’ storyworld possible selves. The study discusses the extent to which the portrayed gentleman’s intriguing gaze, lost in introspection but at the same time seemingly fixed on viewers, can be considered a pictorial equivalent to the doubly-deictic you in verbal narratives. The doubly-deictic effect of the character’s gaze is further argued to provide access to the careful, dazzling accumulation of pictorial symbolism in the depicted studio as a pictorial stream-of-consciousness representation of the character’s frame of mind— memories, hopes, dreams, and fears—functioning in ways similar to paratactic accumulation in verbal narratives.

Titian and Lorenzo Lotto: From the History of Art Dialogue by the Example of the “Collector’s Portrait”

The article explores various aspects of the practice of collecting works of classical art in Renaissance Venice, as well as its influence on the content program formation of the so-called “Collector’s Portrait”, a typological kind of portraiture common in the art of the 16th century. The most interesting examples of it are the “Portrait of Andrea Odoni” by Lorenzo Lotto and the “Portrait of Jacopo Strada” by Titian, considered in this article. The study is relevant because of its connection with the research attention, outlined in recent decades, to the history of collecting, antique trade and the role of socio-economic factors in the development of art history. The article aims to investigate, on the basis of written sources, the matter of how the content of such paintings reflects the moral and ethical ideas about the meaning of antique collecting, as well as to identify its characteristic features on the Venetian grounds. One of the features was that a significant proportion of the artistic material in private collections was composed of works of Greek-Hellenistic art. The interest in collecting these works speaks about the special aesthetic predilections of collectors, their sensitivity to the actual artistic merits of antiques, and not only about their desire to possess antiquities. In addition, the practice of collecting was intended to express the moral virtues of the collector, the greatness of their spirit and the nobility of their thoughts. On the other hand, it served as an important way of social self-assertion for those who were not part of the exclusive elite of Venetian society (patricians), but sought to approach it in their social ambitions. First of all, the article is of interest to historians, art historians, culturologists, museum specialists and antique trade specialists.

Evidence of hypothyroidism in a portrait by Lorenzo Lotto

Evidence of hypothyroidism in a portrait by Lorenzo Lotto

Massimo Firpo and Fabrizio Biferali. Immagini ed eresie nell’Italia del Cinquecento.

In their immersive book Immagini ed eresie nell’Italia del Cinquecento, historian Massimo Firpo and art historian Fabrizio Biferali take advantage of the finer-grained studies they have produced on heresy and art, placing previous subjects (the Inquisition itself, Giovanni Morone, Giovanni Battista Franco, Titian, Lorenzo Lotto, and especially Juan de Valdés) on a broader playing field to reveal networks resulting in particular works of art and architecture that they call a “new kind of visual preaching” (xv). They present a period in religious thought when different outcomes seemed possible, proclaiming at the outset, “This study is not about the history of art, but rather of history in art and art in history.” Interested in showing connections between the forms of expression of religious dissent that arose in Italy, they trace paths forged in search of access to religious experience that were short-circuited after the Council of Trent. The book investigates how the iconoclastic tendencies of the Protestant Reformation forced artists working south of the Alps, responsible for the important visual and emotional component of communicating religious ideas, to reconsider their roles in the dissemination of religious thought, absent a standard orthodoxy. How were they to approach their subject matter, eliciting and focusing devotion, which was the role of an altarpiece? As the Holy Office’s sensitivity to iconographic minutiae was refocused with each new accusation and trial, artists had to reimagine their charge in creating sacred images that enabled religious experience. The book describes a period in which pious clergymen, ambassadors, nobles, and artisans were engaged in imagining a reformed, Christocentric Catholicism, as well as the painting and architecture that could show what justification by faith alone might look like.

Lotto's Carpets: Materiality, Textiles, and Composition in Renaissance Painting

Throughout his oeuvre, the Venetian artist Lorenzo Lotto (ca. 1485–1556) demonstrated a sustained interest in the depiction of carpets. Previous scholarly contributions have considered the carpets in Lotto's paintings to discuss the role of textiles in civic life and in the Republic of Venice's commercial ties in the Eastern Mediterranean. The examination of materiality and textile studies offers insights into how the carpet assumes multiple roles in the paintings themselves: as a go-between among media; an interlocutor between figures; a palette; and, finally, a site for thinking about the goals of composition.

Media and Methodological Nesting. Two Theoretical Paintings by Lorenzo Lotto

Two of Lorenzo Lotto’s paintings, Christ Taking Leave of His Mother, with Elisabetta Rota (1521) and the Portrait of Fra Gregorio Belo (1547), are interpreted as theoretical objects according to the definition of this concept by Hubert Damisch. The compositional structure and iconography of these paintings illustrates the theory later made clear, independently, by William J. Thomas Mitchell. According to him the visual medium and the verbal medium cannot be separated, despite their having clearly different characteristics. The method used here brings together Iconology and Visual Semiotics as if they were embodied in each other. This allows us to recognize the nesting media theory expressed in Lotto’s two paintings, beyond the specific historical subjects they represent.

Una piccola collezione di gemme: le gemme con i «segni celesti» di Lorenzo Lotto

The research focuses on the meaning of the stones collection owned by Lorenzo Lotto many times recorded on his account book, in which zodiacal signs were carved. Following the rut of Renaissance studies, where the relationship between material and image is crucial to figure out the importance of the object, the collection of the artist is studied considering images, symbolisms and functions of their iconographical tradition.

Segni di un codice. I santi di Lorenzo Lotto

During the exhibition on Lorenzo Lotto that took place in Rome at the Scuderie del Quirinale, an experiment was organised for secondary school students. The educational activity focused on the specific iconographic features of some saints represented by Lorenzo Lotto, that can be found in the works of other Renaissance artists as well. Hence, an iconographic code was identified and then connected with aspects of the linguistic code, notably synonimy and metonymy. The article discusses the underpinned theoretical aspects, the characteristics of the tests used in the experiment, the results of the activity.

An analytical investigation of the painting technique of Italian Renaissance master Lorenzo Lotto

Abstract This paper presents the first extensive investigation of the composition of both the organic and inorganic media used by Lorenzo Lotto, one of the outstanding artists of the Italian Renaissance in the early 16th century. By investigating four paintings from The State Hermitage Museum collection (Saint-Petersburg, Russia), new insights into the artist's painting techniques were obtained, which contribute to our understanding of the transition from egg tempera to oil painting techniques that took place in Italian paintings between the 15th to the mid 16th century. Inorganic materials were determined using SEM-EDX and PLM, revealing information on the artist's palette. Of particular note was the powdered colourless glass found in the priming layer of the Madonna delle Grazie , which was most likely used as dryer. Organic materials were analysed in individual paint layers using GC-MS, and revealed a mature use of drying oils as paint binders, skilfully mixed with other organic materials and inorganic driers, to obtain the desired aesthetical and technical qualities of the paint. The study revealed that Lotto used the tempera grassa technique through most of his creative life.

Lorenzo Lotto (Rome, Scuderie del Quirinale, 2 March–12 June 2011) – Catalogue edited by Giovanni Carlo Federico Villa

Renaissance StudiesVolume 26, Issue 3 p. 450-459 Lorenzo Lotto (Rome, Scuderie del Quirinale, 2 March–12 June 2011) – Catalogue edited by Giovanni Carlo Federico Villa BEVERLY LOUISE BROWN, BEVERLY LOUISE BROWN Independent ScholarSearch for more papers by this author BEVERLY LOUISE BROWN, BEVERLY LOUISE BROWN Independent ScholarSearch for more papers by this author First published: 16 August 2011 https://doi.org/10.1111/j.1477-4658.2011.00767.xRead the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinkedInRedditWechat Volume26, Issue3June 2012Pages 450-459 RelatedInformation

Art and love in Renaissance Italy

With contributions by Sarah Cartwright, Jessie McNab, J. Kenneth Moore, Eve Straussman-Pflanzer, Wendy Thompson, and Jeremy Warren Many famous Italian Renaissance artworks were made to celebrate love and marriage. They were the pinnacles of a tradition---dating from the early Renaissance---of commemorating betrothal, marriage, and the birth of a child by commissioning extraordinary objects or exchanging them as gifts. This important volume is the first to examine the entire range of works to which Renaissance rituals of love and marriage gave rise and makes a major contribution to our understanding of Renaissance art in its broader cultural context. Some 140 works of art, dating from about 1400 to 1600, are discussed by a distinguished group of scholars and are reproduced in full color. Marriage and childbirth gifts are the point of departure. These range from maiolica, glassware, and jewelry to birth trays, musical instruments, and nuptial portraits. Bonds of love of another sort were represented in erotic drawings and prints. From these precedents, an increasingly inventive approach to subjects of love and marriage culminated in paintings by some of the greatest artists of the Renaissance, including Giulio Romano, Lorenzo Lotto, and Titian.

Heresy, Culture, and Religion in Early Modern Italy: Contexts and Contestations (review)

Heresy, Culture, and Religion in Early Modern Italy: Contexts and Contestations. Edited by Ronald K. Delph, Michelle M. Fontaine, and John Jeffries Martin. [Sixteenth Century Essays and Studies Series, 76.] (Kirksville, Missouri: Truman State University Press. 2006. Pp. xiv, 265. $4995.) This handsome volume is a Festschrift in honor of Elisabeth Gleason. As such, one might expect essays reinforcing her fairly traditional approach to early modern Italian religious history, but it contains some surprises in the introduction and twelve collected essays. In the opening pages, John Martin abstracts the contributions, but adds the argument that an intellectual tyranny of traditional monolithic images about early modern Italian history, not to mention the radical oversimplification they require, has now been overcome. The images are well known: victimized spirituali, proto-totalitarian intransigenti, 1542 as the history turning point, et cetera. Instead, historians have found and adopted a complexity, Martin suggests, for which there was room in early histories of the Counter-Reformation. Part one, Reformers and heretics: new perspectives, then follows with pieces by Massimo Firpo, Michelle Fontaine, and Paul Murphy. These hold together nicely, showing three different reasons why old about who was or was not a heretic, when heresy grew or was repressed in Italy, and when it was not, simply no longer work. In his essay, Firpo speculates-in the absence of evidence-on the reasons behind Lorenzo Lotto's entry, just before his death, into an oblate community at the Holy House of Loreto. Readers of Firpo's other works will likely find his insistence that overly rigid categories don't work in explaining Lotto more than a little remarkable. Fontaine's study on the rapid weakening of heretical thought in Modena after 1550-well before the so-called intransigenti allegedly seized control of the direction of the Church-is excellent. This piece, plus Murphy's treatment of inconsistent supervision over preachers in Mantua under Ercole Gonzaga, a bishop considered an iron ruler even by Ludwig von Pastor, will leave readers craving more. Part two, on the cultural contexts of reform, which features contributions by Ronald Delph, Frederick McGinness, Paolo Simoncelli, Paul Grendler, and Marion Leathers Kuntz, is less coherent. These essays show the broad context of reform action, but the subjects are disparate. Delph illustrates the attractiveness of humanist notions of restoration among supporters of dredging operations on the Tiber, where ideological motivations mixed with more mundane economic concerns. Grendler shows why the standard notion of early modern universities as bastions of traditional learning resistant to change needs revision. Students driven to attend the University of Padua by tradition, like Gasparo Contarini, later took part in decidedly non-traditional reform, promoting new learning. Kuntz delineates the union of ideal political and religious justice in the doge of sixteenth-century Venice, returning to the written works of Guillame Postel, which, over the years, she has mined so thoroughly. …

Bellini, Giorgione, Titian, and the Renaissance of Venetian Painting ed. by David Alan Brown, Sylvia Ferino-Pagden (review)

REVIEWS 185 lated into Venetian pictorial dialect” (44). Examples of the half-length Madonna, the Bellini brothers’ favored type, are discussed to further exemplify this Veneto-Byzantine style, while Cretan icons of the Madre della Consolazione type are briefly contrasted as representatives of what Byzantinists would call Creto-Venetian style. Campbell is right to notice that, even though Greek and Venetian painters had different reasons for merging each others’ distinctive styles—commercial concerns or the close association Europeans made between Byzantine art and sanctity—it is not clear if any devotional distinction existed in the actual use of the emerging images (59). Unfortunately, discussions of the examples included in the catalogue do not move far beyond an all-too-familiar discourse, limited to identifying whether a painting is “Latin-inspired” or “Byzantine-looking.” Like the exhibition, the catalogue aims to blur the east versus west dichotomy , where western art is often artificially elevated. Written (in most part) from a western perspective, however, this catalogue proves how difficult it is to escape the modern borders of scholarly fields, even while looking at artists and patrons who themselves, over 500 years ago, managed to synthesize brilliantly the quintessential values of their cosmopolitan Mediterranean reality. The Italian images of Mehmed II suggest that, despite religious concerns, he admired European art and actively constructed a European image for himself. He requested established artists from various Italian courts and commissioned medals and painted portraits glorifying him as a successor of Alexander the Great. At his court, Greek scholars and bureaucrats worked alongside their Muslim peers. However, J. M Rogers and Alan Chong show that, even though Mehmed’s library and art collection joined cultures, his successors did not share his tolerance towards the occident, and thus his patronage was less influential than perhaps he might have expected. Chong’s essay, “Gentile Bellini in Istanbul: Myths and Misunderstandings,” is one of the strengths of the catalogue, disentangling the intricacies of Gentile ’s eastern visit. A close analysis of the artist’s few works securely dated to his Istanbul period clarifies their chronology and attribution. Last but not least, the artist who preceded Bellini at the Sultan’s court in 1478–1479, Costanzo da Ferrara, is firmly identified as Costanzo di Moysis. Little is known about this Italian, originally from Venice but active in Ferrara and Naples, whose oeuvre cannot be reconstructed in the absence of stylistic evidence. The second half of the fifteenth century marks the height of Italian fascination with the east. It was a period of explosive cultural dialogue—one that continues to stir our scholarly fascination today. The exhibition curators and the authors of this catalogue were successful in presenting Gentile Bellini as a case study, offering a reconsideration of an artist who, during his lifetime, was considered Venice’s most important painter. CRISTINA STANCIOIU, Art History, UCLA Bellini, Giorgione, Titian, and the Renaissance of Venetian Painting, ed. David Alan Brown and Sylvia Ferino-Pagden (Washington DC: National Gallery of Art 2006) 336 pages, 31 halftone + 162 color ill. This substantial, abundantly illustrated catalogue, created to accompany exhibitions at the National Gallery in Washington and the Kunsthistoriches Mu- REVIEWS 186 seum in Vienna, brings together some of the foremost scholars of Venetian art to shed new light on a significant moment in the history of Venetian painting. The exhibitions highlighted a period of considerable stylistic change in the painting of the Venetian schools from 1500 to 1530. The exhibitions and the catalogue were meant to illustrate this transition by bringing together the paintings of not only the three masters listed in the title, but also other lesser-known painters of the beginning of the sixteenth century like Lorenzo Lotto, Cima da Conegliano, and Vincenzo Catena. The catalogue brings together these artists seamlessly, creating for the reader a vivid picture of the artistic world of early sixteenth-century Venice. By not concentrating on a single artist, as many exhibitions do, the catalog presents a more complete idea of artistic development in all genres of paintings. Few scholars of Venetian art would doubt the significance of the three decades chosen by the exhibition organizers in the history of the city’s painting. During these thirty...