page_title: Venetian painting
section_title: 14th century
hierarchical_section_title: Venetian painting / Early development, to 1500 / 14th century
caption_attribution_description: English: central panel: The Coronation of the Virgin 2x4 Scenes from the life of Christ at the sides: On the left are 'Adoration of the Magi', 'Baptism of Jesus Christ', 'Last Supper' and 'The Prayer in the Garden and the Arrest of Christ'; on the right are 'The Journey to Calvary', 'The Crucifixion', 'The Resurrection, the encounter with Mary Magdalene and 'The Ascension'.In the Crowning are Scenes from the life of Saint Francis and other Saints, from left: Pentecost, St John, St. Clare taking her veil, St. Francis, St. Francis leaving bis clothes to his father; in the upper crowning are the prophets Eliah and Daniel
context_page_description: Venetian painting was a major force in Italian Renaissance painting and beyond. Beginning with the work of Giovanni Bellini and his brother Gentile Bellini and their workshops, the major artists of the Venetian school included Giorgione, Titian, Tintoretto, Paolo Veronese and Jacopo Bassano and his sons. Considered to give primacy of colour over line, the tradition of the Venetian school contrasted with the Mannerism prevalent in the rest of Italy. The Venetian style exerted great influence upon the subsequent development of Western painting.
  By chance, the main phases of Venetian painting fit rather neatly into the centuries. The glories of the 16th century were followed by a great fall-off in the 17th, but an unexpected revival in the 18th, when Venetian painters enjoyed great success around Europe, as Baroque painting turned to Rococo. This had ended completely by the extinction of the Republic of Venice in 1797 and since then, though much painted by others, Venice has not had a continuing style or tradition of its own.
context_section_description: Paolo Veneziano, probably active between about 1320 and 1360, is the first major figure we can name, and "the founder of the Venetian school". He seems to have introduced the "composite altarpiece" of many small scenes within an elaborate gilded wooden frame, which remained dominant in churches for two centuries. These transferred to painting the form of the huge, jewel-encrusted and very famous Pala d'Oro behind the main altar in San Marco, the enamel panels for which had been made in, and later looted from, Constantinople for successive doges. In fact, one of Veneziano's commissions was to paint "weekday" panels to fit over the Pala, which was only revealed for feast-days. His style shows no influence from Giotto, active a generation earlier.
  The earliest form of Italian Renaissance painting was first seen in Venice when Guariento di Arpo from Padua was commissioned to paint frescos in the Doge's Palace in 1365.
caption: Paolo Veneziano, polyptych altarpiece with Coronation of the Virgin, c. 1350
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