- Venice
gabriele matino
Independent Researcher, Art History, Department Member
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Art History, Venice Renaissance Art History, Italian Renaissance Art, Narrative Painting, Medieval Hospitals and Confraternities, Scuole Grandi, and 10 moreChristian Iconography, Medieval Chronicles, Medieval Bestiaries, Early Christian Apocryphal Literature, Mediterranean and North Africa, Mamluk Studies, The Bellini Family of Painters, Bellini and Belliniani, Jacopo Tintoretto, and Domenico Tintoretto edit
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PhD in Art History from the University of Nottingham, July 2014edit
Per tradizione, la chiesa di San Polo fu fondata nell’837 dal doge Pietro Tradonico e dal figlio Giovanni. L’area che nacque attorno alla chiesa e al suo campo seppe attirare una popolazione variegata ma caratterizzata da un elevato... more
Per tradizione, la chiesa di San Polo fu fondata nell’837 dal doge Pietro Tradonico e dal figlio Giovanni. L’area che nacque attorno alla chiesa e al suo campo seppe attirare una popolazione variegata ma caratterizzata da un elevato numero di patrizi che giocarono quindi un ruolo sostanziale nella definizione della chiesa e degli spazi limitrofi.
Luogo di raccolta della sua comunità, nel corso dei secoli la chiesa di San Polo fu oggetto di donazioni, commissarie e committenze artistiche che si spinsero ben oltre la caduta della Repubblica e che concorsero alla trasformazione, ridefinizione e rinnovamento sia degli spazi interni dell’edificio che del suo aspetto esterno.
È alla luce dei segni lasciati nei secoli dai parrocchiani e dal clero che questo volume intende esplorare il contesto socio-culturale, religioso e devozionale nel quale fu fondata e si trovò per secoli la chiesa di San Polo: dalla rilevanza urbana del campo quale centro ludico-aggregativo (cacce dei tori e spettacoli teatrali), commerciale (mercati e fiere) e religioso (processioni), fino alla centralità della chiesa quale perno della devozione confraternale (scuole del Santissimo Sacramento e di San Paolo), del culto della croce (Oratorio della Croce) e di quello lauretano.
Luogo di raccolta della sua comunità, nel corso dei secoli la chiesa di San Polo fu oggetto di donazioni, commissarie e committenze artistiche che si spinsero ben oltre la caduta della Repubblica e che concorsero alla trasformazione, ridefinizione e rinnovamento sia degli spazi interni dell’edificio che del suo aspetto esterno.
È alla luce dei segni lasciati nei secoli dai parrocchiani e dal clero che questo volume intende esplorare il contesto socio-culturale, religioso e devozionale nel quale fu fondata e si trovò per secoli la chiesa di San Polo: dalla rilevanza urbana del campo quale centro ludico-aggregativo (cacce dei tori e spettacoli teatrali), commerciale (mercati e fiere) e religioso (processioni), fino alla centralità della chiesa quale perno della devozione confraternale (scuole del Santissimo Sacramento e di San Paolo), del culto della croce (Oratorio della Croce) e di quello lauretano.
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History of Plague, Jackson Pollock, Giovanni Battista Tiepolo, Giovanni Bellini, Titian, and 13 moreRepublic of Venice, 16th century Venice, MARCO POLO, History of Venice, Andrea Palladio, Italian Risorgimento, Peggy Guggenheim, Bill Viola, Jacopo de' Barbari, Aldus Manutius, Antonio Canova, Vittore Carpaccio, and Antonio Canal detto Canaletto
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Ottoman-Venetian relations, Giovanni Bellini, Venice, Venetian Renaissance art, Venetian Stato da mar, and 11 moreHistory of Venice, Venetian Renaissance Painting, Saint Ursula, Conservation and Restoration of Historic Buildings and Monuments, Saint George, Confraternities studies, Vittore Carpaccio, Scuole Grandi, Narrative Painting, Museo Correr, and Gallerie dell'Accademia Venezia
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Ottoman-Venetian relations, Giovanni Bellini, Venice, Venetian Renaissance art, Venetian Stato da mar, and 11 moreHistory of Venice, Venetian Renaissance Painting, Saint Ursula, Conservation and Restoration of Historic Buildings and Monuments, Saint George, Confraternities studies, Vittore Carpaccio, Scuole Grandi, Narrative Painting, Correr, and Gallerie dell'Accademia Venezia
The exhibition catalog from the Scuola grande di San Marco, Venice.
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History of Medicine, Life Drawing, Prints and Drawings, General Surgery, Agiography - agiology, and 10 moreItalian late medieval and Renaissance devotional art, ritual, and patronage, 16th century Venice, History of Venice, Domenico Tintoretto, Confraternities studies, Scuola Grande di San Marco, Venice, Jacopo Palma il Giovane, Jacopo Tintoretto, Carlo Ridolfi, and Odoardo Fialetti
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Poetry, Venice, Domenico Tintoretto, Annibale Carracci, Jacopo Palma il Giovane, and 12 moreGiovan Battista Marino, Carlo Ridolfi, Uglyness, Libertinism (Paolo Sarpi; Accademia Degli Incogniti; Venetian Academies; Antiquarian and Epistolary Networks Bet Ven/Padua and N. Europe, Drawing as a research tool, Accademia Degli Incogniti, Celio Magno, Aesthetics of the Ugly, Casoni Guido, Giovan Battista Ciotti, Drawing from life, and Marinismo
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Renaissance History esp Venice, Veneto and empires, Italian Renaissance Art, Titian, History of Venice, Artists Houses, and 6 moreCarpaccio, Artist's Workshop, Scuola Grande di San Giovanni Evangelista, Venice, Renaissance art in Venice, Vittore Carpaccio, and Famiglia Corner della Regina o di San Cassiano
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Giovanni Bellini, Gentile Bellini, Venetian Renaissance art, Italian late medieval and Renaissance devotional art, ritual, and patronage, Venetian Renaissance Painting, and 7 moreConfraternities studies, Scuola Grande di San Marco, Venice, Paris Bordon, Scuole Grandi, Narrative Painting, Giovanni Mansueti, and Jacopo Palma il Vecchio
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In recent years historians have significantly refined our understanding of the role played by the cittadini originari in Venetian government service, mercantile trade, charitable institutions, religious practice, and civic ceremony. A... more
In recent years historians have significantly refined our understanding of the role played by the cittadini originari in Venetian government service, mercantile trade, charitable institutions, religious practice, and civic ceremony. A series of laws, ratified by the Council of Ten between 1478-1569, registers the evolving juridical definition of the cittadini originari as it began to gain official government recognition. During these years, the cittadini initiated their own socio-political program, both formal and informal, to define their prerogatives as Venice’s emergent “second aristocracy.” My paper considers the complex, monumental Bellinesque narrative cycle for the Scuola Grande di San Marco (1504-34) – a wealthy lay confraternity governed by the cittadini originari – as visual component of this political program, projecting the social identity of the burgeoning class to fellow and future members, as well as to visiting patricians, as it endeavoured to expand its legal rights.
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"In his Cronica Brevis, the Venetian doge Andrea Dandolo (1306-1354) noted that on 25 February 1340 a storm had flooded Venice with over two feet of water more than usual. It is unclear exactly how an evening of nasty weather soon became... more
"In his Cronica Brevis, the Venetian doge Andrea Dandolo (1306-1354) noted that on 25 February 1340 a storm had flooded Venice with over two feet of water more than usual. It is unclear exactly how an evening of nasty weather soon became a miraculous event, but already by 1369 an anonymous Cronaca described the same incident as the night that Saints Mark, Nicholas, and George saved the city from a potentially devastating squall brought forth by demonic forces.
In the fifteenth century the legend continued to be retold when authors such as Marin Sanudo (Vite dei Dogi) and Antonio Vituri (Cronaca di Venezia) included it in their own chronicles. Its appearance in Sabellico's Rerum Venetarum (1487) signified that the miracle had become a cornerstone episode in the Holy Republic's official history. In 1498 Bernardino de Grassi, the Guardian Grande of the Scuola di San Marco, transcribed the miraculous narrative from the Ducal Chancery’s records into the confraternity’s Mariegola, and, slightly more than a decade later, the Scuola commissioned the execution of The Sea Storm, the first known painting to have portrayed Venice's miraculous salvation by the triumvirate of saints.
This paper analyzes how news of little account grew into an influential popular legend that possessed its own set of symbolic meanings, which might themselves be employed to interpret contemporary events. For example, at the time of the Scuola’s commission, Venice had suffered a severe defeat at Agnadello (1509), and a year later pope Julius II challenged Venetian supremacy over the Adriatic. I argue that the Scuola’s members, whose primary source of income derived from Levantine trade, commissioned the portrayal of St. Mark's miraculous rescue to reaffirm their own claims—validated by no less a divinity than the Evangelist himself—over the sea routes of the Adriatic they had traditionally dominated."
In the fifteenth century the legend continued to be retold when authors such as Marin Sanudo (Vite dei Dogi) and Antonio Vituri (Cronaca di Venezia) included it in their own chronicles. Its appearance in Sabellico's Rerum Venetarum (1487) signified that the miracle had become a cornerstone episode in the Holy Republic's official history. In 1498 Bernardino de Grassi, the Guardian Grande of the Scuola di San Marco, transcribed the miraculous narrative from the Ducal Chancery’s records into the confraternity’s Mariegola, and, slightly more than a decade later, the Scuola commissioned the execution of The Sea Storm, the first known painting to have portrayed Venice's miraculous salvation by the triumvirate of saints.
This paper analyzes how news of little account grew into an influential popular legend that possessed its own set of symbolic meanings, which might themselves be employed to interpret contemporary events. For example, at the time of the Scuola’s commission, Venice had suffered a severe defeat at Agnadello (1509), and a year later pope Julius II challenged Venetian supremacy over the Adriatic. I argue that the Scuola’s members, whose primary source of income derived from Levantine trade, commissioned the portrayal of St. Mark's miraculous rescue to reaffirm their own claims—validated by no less a divinity than the Evangelist himself—over the sea routes of the Adriatic they had traditionally dominated."
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This paper explores the extent of Giovanni Mansueti's (active 1485-1526/27) professional ties to Gentile Bellini and how they might have provided the artist with opportunities to further his independent career. I argue that Mansueti,... more
This paper explores the extent of Giovanni Mansueti's (active 1485-1526/27) professional ties to Gentile Bellini and how they might have provided the artist with opportunities to further his independent career. I argue that Mansueti, after establishing his own bottega, received the prestigious commission of The Miracle of San Lio (c. 1496) in part through the recommendation of his former master, Gentile. Scholars have speculated that a drawing attributed to Gentile (Florence, Uffizi), and which illustrates the same episode depicted by Mansueti, demonstrates that Mansueti's “inferior” painting was completed under Gentile’s supervision. I propose, rather, that Mansueti’s telero depicted a different iconography, one which reflected the specific devotional needs of its patrons, the Scuola Grande di San Giovanni Evangelista. Thus I make the case that Gentile secured the commission through a contract drawing and delegated it to Mansueti, who altered the initial design do accord with his patrons’ demands.
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Francesco Vecellio’s set of organ door shutters at San Salvador – his principal work in Venice – is arguably his most important commission and presents the ideal case to investigate his role in the Venetian artistic environment and his... more
Francesco Vecellio’s set of organ door shutters at San Salvador – his principal work in Venice – is arguably his most important commission and presents the ideal case to investigate his role in the Venetian artistic environment and his relationship with Titian and Titian’s workshop. This paper will suggest a radical change to the current installation of the canvases. It will move on to a reading of the paintings with respect to their patronage, their liturgical function, and their symbolic connection with the public ritual of the Resurrection during the Holy Week. Stylistically, the works can be compared to Titian’s Averoldi Polyptych and reveal that Francesco at the beginning of the 30s was still working at his brother’s atelier and that Titian must have played a very important role in winning the commission.
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RSA, Berlin, March 26 - 28, 2015 Deadline for submission: May 30, 2014 We invite papers that explore avenues of research related to the identity formation of non-noble Venetian citizens, both original and naturalized. An identifiable... more
RSA, Berlin, March 26 - 28, 2015
Deadline for submission: May 30, 2014
We invite papers that explore avenues of research related to the identity formation of non-noble Venetian citizens, both original and naturalized. An identifiable class of Cittadini did not exist when the serrata, a series of laws from 1285-1323, prohibited non-noble Venetians from holding high government office. In the following centuries a large number of disenfranchised non-noble families sought to empower themselves, in part by gradually assuming control over the administration of four charitable confraternities, later called the Scuole Grandi, which they transformed into prominent civic spaces and centers of art. By the mid-sixteenth century the Cittadini Originari referred to themselves as "Noble Families not of the Great Council" and had become officially recognized by the Venetian government.
Papers might address one or more of the following topics:
- How did the Cittadini perceive themselves and did their social awareness change over time?
- What strategies were employed by the Cittadini to achieve class emancipation?
- Did the Cittadini emulate the ruling nobility or did they develop their own distinctive social model?
- How did the Cittadini's commercial, artistic, and religious practices contribute toward defining their social class?
- What was the role of literature and the visual arts in fashioning the Cittadini's social identity?
- Did patronage contribute to the Cittadini's class formation? Did Cittadini patronage differ between private and public contexts?
Please send your paper title, abstract (150-word maximum), keywords, and a brief curriculum vitae (300-word maximum) to one of the organizers: Gabriele Matino (gabrielematino@gmail.com) and Daniel Wallace Maze (danielwallacemaze@gmail.com).
Deadline for submission: May 30, 2014
We invite papers that explore avenues of research related to the identity formation of non-noble Venetian citizens, both original and naturalized. An identifiable class of Cittadini did not exist when the serrata, a series of laws from 1285-1323, prohibited non-noble Venetians from holding high government office. In the following centuries a large number of disenfranchised non-noble families sought to empower themselves, in part by gradually assuming control over the administration of four charitable confraternities, later called the Scuole Grandi, which they transformed into prominent civic spaces and centers of art. By the mid-sixteenth century the Cittadini Originari referred to themselves as "Noble Families not of the Great Council" and had become officially recognized by the Venetian government.
Papers might address one or more of the following topics:
- How did the Cittadini perceive themselves and did their social awareness change over time?
- What strategies were employed by the Cittadini to achieve class emancipation?
- Did the Cittadini emulate the ruling nobility or did they develop their own distinctive social model?
- How did the Cittadini's commercial, artistic, and religious practices contribute toward defining their social class?
- What was the role of literature and the visual arts in fashioning the Cittadini's social identity?
- Did patronage contribute to the Cittadini's class formation? Did Cittadini patronage differ between private and public contexts?
Please send your paper title, abstract (150-word maximum), keywords, and a brief curriculum vitae (300-word maximum) to one of the organizers: Gabriele Matino (gabrielematino@gmail.com) and Daniel Wallace Maze (danielwallacemaze@gmail.com).
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In 1502 Vittore Carpaccio delivered the Calling of Saint Matthew to the Venetian Scuola Dalmata dei Santi Giorgio e Trifone, a confraternity founded in 1451 by the Dalmatian community residing in Venice. The painting’s recent restoration... more
In 1502 Vittore Carpaccio delivered the Calling of Saint Matthew to the Venetian Scuola Dalmata dei Santi Giorgio e Trifone, a confraternity founded in 1451 by the Dalmatian community residing in Venice. The painting’s recent restoration sponsored by Save Venice offers an opportunity to re-examine the work and reconsider its iconography. Building upon new visual and documentary evidence, this article argues that Carpaccio painted the tax collector Matthew not as a Jewish moneylender, as previously assumed, but as a Venetian moneychanger within his workplace, a banco de tapeto that once faced Campo San Giacomo at Rialto. An examination of Matthew’s gesture reveals that Carpaccio depicted the moment that preceded, rather than followed, the Evangelist’s decision to abandon his profession and follow Christ. This change to the traditional iconography, I suggest, should be regarded as a visual exemplum of Christian charity, the virtue central to the Scuola Dalmata’s devotional practices.