Carpaccio's principal works were executed between 1490 and 1519, placing him among the early masters of
Venetian painting in the Renaissance. By 1490, Carpaccio painted
The Legend of Saint Ursula, a series of paintings for the Scuola di Sant'Orsola, one of the religious
confraternities in Venice (see below "Narrative Cycles" for more on this series). This series elevated his prominence in early Renaissance Venice, allowing him to distinguish himself as a capable, creative painter skilled in artistic narration and lighting. Around 1501–1507, he worked with Giovanni Bellini, painting in the
Sala del Gran Consiglio in the
Doge's Palace. The legend of St. George was enormously popular during the Renaissance, and the confrontation between the knight and the dragon was painted later by numerous artists, such as Albrecht Altdorfer's
St. George and the Dragon (1510). From 1507 to 1508, Carpaccio executed the work,
St. Tryphonius Exorcizing the Demon. In the background sit leafless trees, crumbling buildings, and a dry, desert ground—all alluding to the theme of death. However, he experienced less success upon the rise of younger artists, such as
Titian,
Giorgione, and
Lorenzo Lotto, whose innovative styles challenged his conservative values.
Narrative cycles and Altarpieces 1490-94 1490-94
The Legend of Saint Ursula Cycle In 1490, Carpaccio began
The Legend of Saint Ursula, a series of paintings executed for the ''
Scuola di Sant'Orsola'' depicting the life of the
confraternity's patron saint. This cycle has led scholars to describe him as a "master visual storyteller," since the large-scale paintings were installed in large open spaces, like a reception or audience hall, allowing spectators to take in the scenes, similar to animation storyboards. The legend revolves around
St. Ursula and her companions in
Cologne where tradition relates that in the year 385, a legion of eleven thousand virgins professing their faith to
Christ, with Ursula at their head and twenty thousand
Christians by their side, would be massacred by the Germans upon their arrival in
Cologne after coming from the island of Britain. Carpaccio was greatly inspired by the legend, especially its themes of
massacre and chronology that brought the story to life. dates to 1504–1508 and was largely executed by Carpaccio's assistants. The images are now divided among the
Accademia Carrara of
Bergamo, the
Pinacoteca di Brera in
Milan, and the
Ca' d'Oro in Venice.
Altarpieces In 1491, Carpaccio completed the
Glory of St. Ursula altarpiece, a large scale detachable wall-painting painted for the hall of one of the
Venetian scuole, which were charitable and social confraternities. Three years later he took part in the decoration of the
Scuola Grande di San Giovanni Evangelista, painting the
Miracle of the Relic of the Cross at the Ponte di Rialto (1496). Other altarpieces that Carpaccio created, like
St. Thomas Aquinas Enthroned (1507),
Presentation of Christ in the Temple (1510), and
Martyrdom of the Ten Thousand (1515), were commissioned by Venice churches. The church-patron of
St. Thomas Aquinas Enthroned (1507) remains unknown; however,
Presentation of Christ in the Temple (1510) was commissioned by the church of San Giobbe, and
Martyrdom of the Ten Thousand (1515) by the church of San Giorgio Maggiore. == Artistic decline and death (1520s) ==