page_title: Veneto
section_title: Art and architecture
hierarchical_section_title: Veneto / Culture / Art and architecture
caption_attribution_description: English: Detail of Kiss of Judas
context_page_description: Veneto or Venetia is one of the 20 regions of Italy. Its population is about five million, ranking fifth in Italy. The region's capital is Venice.
  Veneto was part of the Roman Empire until the 5th century AD. Later, after a feudal period, it was part of the Republic of Venice until 1797. Venice ruled for centuries over one of the largest and richest maritime republics and trade empires in the world. After the Napoleonic Wars and the Congress of Vienna, the Republic was annexed by the Austrian Empire, until it was merged with the Kingdom of Italy in 1866, as a result of the Third Italian War of Independence.
  Besides Italian, most inhabitants also speak Venetian which is divided into five varieties.
  Since 1971 the Statute of Veneto has referred to the region's citizens as "the Venetian people". Article 1 defines Veneto as an "autonomous Region", "constituted by the Venetian people and the lands of the provinces of Belluno, Padua, Rovigo, Treviso, Venice, Verona and Vicenza", while maintaining "bonds with Venetians in the world".
context_section_description: The Middle Ages stimulated the creation of monumental works such as the complex of churches on the island of Torcello, in the Venetian lagoon, with the Cathedral of Santa Maria Assunta founded in 639, its bell tower erected in the 11th century and the adjacent Martyrium of Santa Fosca built around the 1100, notable for the mosaics.
  They saw the construction of the Basilica of San Zeno Maggiore in Verona, which was Veneto's main centre for that esthetic movement and we note, by the mixture of styles that Verona was an important crossroads to the north of Europe.
  Examples of Gothic art, in addition to the Venetian church of Santa Maria Gloriosa dei Frari and that of Santi Giovanni e Paolo, are the Scaliger Tombs in the historical centre of Verona.
  While in Veneto Byzantine art was important, an element of innovation was brought to Padua by Giotto, bearer of a new pictorial tradition: that of Tuscany. Towards the 1302 he was commissioned by Enrico Scrovegni to paint the family chapel, now known just by the name of Scrovegni Chapel, one of the most important artistic monuments of Padua and Veneto. The influences of the contribution of Giotto were felt immediately, as in the frescoes of Giusto de' Menabuoi in the Baptistry near the Cathedral of Padua and those of Altichiero in the Basilica of Saint Anthony.
  After a phase of development of Gothic art, with the creation of important works including the Ca' d'Oro and the Doge's Palace in Venice, and the churches of Santa Maria Gloriosa dei Frari and of Saints John and Paul in Venice, the influence of the Renaissance ushered in a new era. In addition to Donatello, an important Venetian Renaissance artist was Andrea Mantegna (1431–1506), whose most important work in Veneto is perhaps the San Zeno Altarpiece, found in Verona. With the mainland expansion of the Venetian Republic and the consolidation of its institutions, there was also an artistic development of exceptional stature: Mantegna, Vittore Carpaccio, Giovanni Bellini, Cima da Conegliano, Pordenone laid the foundations for what would be the age of Venetian painting.
  Padua was a cradle of the Venetian Renaissance, Where influences from Tuscany and Umbria filtered north. Amongst the Renaissance artists who worked there were Donatello, who worked on an altar of the Basilica of Saint Anthony, and Pisanello, whose works are mainly in Verona, for example, the fresco of Saint George in the Church of St. Anastasia.
  In the first phase with Carpaccio and Bellini, the influences of international painting were still evident and the references to Flemish art were numerous. Artists of the successive phase included Giorgione, Titian, Sebastiano del Piombo and Lorenzo Lotto. Giorgione and Titian developed an original and innovative style, which characterised the painters of the Venetian school rather than other traditions. Giorgione's enigmatic style infused his work with allegory, and he created his paintings with less reliance on a preparatory drawing than previous painters. This innovation was looking for the imitation of natural phenomena by creating atmospheres with the colours and shifting the emphasis from the pursuit of artistic perfection. The storm (1506–1508), now in the Accademia in Venice, is an example of this use of colour, where the mixture colour and texture continue indefinitely without preparatory drawing for the painting work gives a special atmosphere.
  Titian, born in Belluno Pieve di Cadore, brought forward the use of this technique without pictorial design, creating masterpieces such as the Assumption of the Virgin (1516–1518), an altar made by imposing visible sizes on the main altar of the Basilica of Santa Maria Gloriosa dei Frari in Venice, a work whose suggestion is due to the use of colour. At the end of his long life, he had acquired fame and commissions across the continent.
  Tintoretto (1518–1594) recast Roman Mannerism in a Venetian style, less linear, and with more use of colour to distinguish forms, highlighting the bright prospects for its operations, giving unusual deformations of perspective, to increa
caption: Kiss of Judas by Giotto, in Padua.
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