page_title: Venetian painting
section_title: 17th century
hierarchical_section_title: Venetian painting / 17th century
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: The 17th century was a low point in Venetian painting, especially in the first decades when Palma Giovane, Domenico Tintoretto (the son), the Bassani sons, Padovanino and others continued to turn out works essentially in the styles of the previous century. The most significant artists working in the city were all immigrants: Domenico Fetti (c. 1589–1623) from Rome, Bernardo Strozzi (c. 1581–1644) from Genoa, and the north German Johann Liss (c. 1590? – c. 1630). All were aware of the Baroque painting of Rome or Genoa, and in different ways developed styles reflecting and uniting these and traditional Venetian handling of paint and colour.
  New directions were taken by two individual painters, Francesco Maffei from Vicenza (c. 1600–60) and Sebastiano Mazzoni from Florence (1611–78), who both worked mainly in Venice or the terraferma in unorthodox and free Baroque styles, both marked by the Venetian trait of bravura brushwork.
  Visits to Venice by the leading Neapolitan painter Luca Giordano in 1653 and 1685 left a body of work in the latest Baroque style, and had an energising effect on younger artists such as Giovan Battista Langetti, Pietro Liberi, Antonio Molinari, and the German Johann Carl Loth.
caption: Bernardo Strozzi, Personification of Fame, probably 1635–6
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