Domenico Veneziano


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Domenico Veneziano

(Italian doˈmeːniko venetˈtsjaːno)
n
(Biography) died 1461, Italian painter, noted for the St Lucy Altarpiece
References in periodicals archive ?
As he says in his joint chapter on Andrea del Castagno and Domenico Veneziano: "emulation and rivalry, when men seek by honest endeavor to vanquish and surpass those greater than themselves in order to acquire glory and honor, are things worthy to be praised and to be held in esteem as necessary and useful to the world."
Yet this does not lead Banker to dismiss claims, based largely or exclusively on Vasari, that Piero had painted frescoes with Domenico Veneziano in Loreto and on his own in the ducal palace in Ferrara, even though the idea that Vasari had knowledge of frescoes destroyed before he was bom and in cities about which he knew little or nothing is hard to take seriously.
The Lives of such antiheroes as Buonamico Buffalmaco, Andrea del Castagno, and Baccio Bandinelli, as related by Vasari, offer a literary counterpoint--a narrative tension--necessary for highlighting the accomplishments of the heroes of Vasari's work, and Ladis focuses here on Giotto, Domenico Veneziano, and Michelangelo.
Even though works by earlier and later artists, such as Piero Della Francesca's Battle of Constantine (1454-58), Domenico Veneziano's Adoration of the Magi (1439-41), Sandro Boticelli's Adoration of the Magi (1470-73), and Giulio Romano's horses from the Palazzo De Te (1527-34), all show horses of detail and realism, none of them gives the vitality or action that Leonardo's horses have.
A little disconcerted by their stare, he passes on to two panels, sparse and deft, by Domenico Veneziano. One is a decorous Annunciation, in which the Archangel Gabriel kneels several feet away from the Virgin Mary, who in turn bows to him from her seemly portico.
Major painters were engaged here: Domenico Veneziano, the young Piero della Francesca and Bicci di Lorenzo, and later Andrea del Castagno and Alessio Baldovinetti painted frescoes in the Cappella Maggiore of the hospital church of S Egidio.
When she addresses Masaccio's Trinity and Domenico Veneziano's St.
The influence of Donatello's perspectival innovations is evident to great effect in two powerful panels by Domenico Veneziano (nos.