Vice, Vagrancy and Villa Culture: Bonifacio de' Pitati's "Dives and Lazarus" in Its Venetian Context

Cottrell, P. L.

doi:10.2307/1483779

Artibus Et Historiae

2005

DOI: 10.2307/1483779

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Vice, Vagrancy and Villa Culture: Bonifacio de' Pitati's "Dives and Lazarus" in Its Venetian Context

P. L. Cottrell¹

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“… 140 Cottrell, 2005, 131–33. Cottrell traces the provenance to the Giustinian family palace at S. Stae, proposing that it is identical with the painting described as “un quadro co[n] la historia d[e] Lazaro mendico” in a 1573 inventory.…”

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TheQuadro da Portegoin Sixteenth-Century Venetian Art^*

Schmitter¹

2011

Renaiss. Q.

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During the sixteenth century a symbiotic relationship developed between the form, use, and symbolic associations of the Venetian portego, the central reception and entertainment hall of Venetian palaces, and the paintings that were increasingly commissioned to ornament these spaces. The intended placement of the paintings affected their size, format, composition, subject matter, and contemporary interpretation. At the same time, the works of art themselves reflected upon and helped to define the social meanings of the space and the activities taking place there. Analyzing documentary sources and surviving paintings reveals the degree to which we can speak of thequadro da portegoas a distinctive type of Venetian painting.

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confidence: 99%

TheQuadro da Portegoin Sixteenth-Century Venetian Art^*

Schmitter¹

2011

Renaiss. Q.

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Secular Charity, Sacred Poverty: Picturing the Poor in Renaissance Venice

Nichols

2007

Art History

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The poor were depicted with increasing frequency and prominence in Venetian art of the sixteenth century. This new level of visualization within the fictive space of representation indirectly reflects contemporary attempts to exclude poveri and other undesirables from the actual space of the city. Increased state involvement in poor relief stimulated a new iconography of secular charity featuring almsgiving by patrician officials, presented in an hierarchical manner that pointedly departs from the more communal depictions in paintings commissioned by the city's non‐noble scuole. But it was in religious painting for the city's churches and monasteries that the visual imagery of poverty was most dramatically improved, with reference both to sacred and devotional texts stressing poverty as a sacred value and to formal models from antique and High Renaissance art. The povero increasingly appeared as an idealized human archetype whose suffering and humility associated him directly with Christ. The article concludes by arguing that the symbolization of the poor as significant sacred actors in visual art was an aspect of their repression and exclusion in the social domain.

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Vice, Vagrancy and Villa Culture: Bonifacio de' Pitati's "Dives and Lazarus" in Its Venetian Context

Cited by 2 publications

References 1 publication

TheQuadro da Portegoin Sixteenth-Century Venetian Art^*

TheQuadro da Portegoin Sixteenth-Century Venetian Art^*

Secular Charity, Sacred Poverty: Picturing the Poor in Renaissance Venice

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Vice, Vagrancy and Villa Culture: Bonifacio de' Pitati's "Dives and Lazarus" in Its Venetian Context

Cited by 2 publications

References 1 publication

TheQuadro da Portegoin Sixteenth-Century Venetian Art*

TheQuadro da Portegoin Sixteenth-Century Venetian Art*

Secular Charity, Sacred Poverty: Picturing the Poor in Renaissance Venice

Contact Info

Product

Resources

About

TheQuadro da Portegoin Sixteenth-Century Venetian Art^*

TheQuadro da Portegoin Sixteenth-Century Venetian Art^*