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Late Renaissance Painting in Venice, Istria and Dalmatia - a Case in Favour of Individual Approach and Against the Traditional Idea of the Category of Style

The painting of Jacopo Palma il Giovane and his followers and contemporaries, as Marco Boschini named them “ I pittori di Sette Maniere” , differs in some aspects from the painting of the previous generation of Venetian painters, such as Titian, Tintoretto, Veronese and their contemporaries. Still, the influence of the “ giants” was indelible and very tenacious. In Istria and Dalmatia there is an impressive number of paintings belonging to Palma il Giovane and his contemporaries. In the great majority of the cases these were ordered by the local confraternities or communities. Compared to the works by the same painters done for Venetian churches and religious interiors, Istrian and Dalmatian paintings and altarpieces seem somewhat adjusted to the needs of the local donor. It is the task of this paper to detect what aspects of the paintings were subjected to such adjustments and what aspects seem to be constant and why. The stylistic differences springing from the specific regional context can hardly support the “ national” or even “ international” approach. At the same time, the case in point could be very useful in discussing a category that should function universally, namely the category, or better, the notion of style. Bordering, on one hand, between High Renaissance and the first instances of the tenebroso current and the classicist tendencies of the 17th century and, on the other, between the preferences of the Venetian donors and of the local, peripheral communities, Venetian Late Renaissance paintings seem to represent a tough test for any definition of style.

late renaissance painting; Venice; Istria; Dalmatia; the category of style

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