A painting by the Renaissance artist Carpaccio has disappeared from the collection of the late Lord William Elmley, an Englishman who lived in Venice for many years, and the engaging American art historian Emma Darling is determined to find it. Art thieves come sniffing and a battle of wills ensues. Emma’s new friends Riccardo and Vittoria struggle with her to discover and protect the missing masterpiece. Led by Venice Police Inspector Luigi Dario and aided by Dr. Sam McGregor, she struggles, her bravery sorely tested. Follow her and her companions as they visit the Lido, Venice’s island of beaches, the artisan haven of Dorsoduro, raucous open-air markets of the Rialto, and the sleepy island of Torcello—all in search of the painting. As surely as the gondolas skim the Grand Canal, this gripping book will keep you at the edge of your seat as suspense proliferates with each flip of the page. Comments "Emma has replaced Miss Marple in my life! Good for you, Alice!" — Charlotte Jacobs, California "I absolutely loved the book. Most of the places were familiar to me and the few others, I found with Mapquest. It was like a trip to Venice, and I said as much on my Facebook page. I also appreciate the readable print. Three of my granddaughters visited Venice last summer and I know they'll love the book too!" — Terry Stacy, Kentucky "I'm so excited to read Tracking the Carpaccio and to order the other two books of the trilogy." — Amanda H. Fields, Minnesota "Most of all we need to find Signorina Darling!" With those words from Police Inspector Luigi Dario I gave my heart to the search for Emma Darling. Building on the literary appeal of Venice as a city of conspiracy and danger, the author took me on a thrilling track following, and losing, the Darling art historian through canals and islands known for hiding secrets. Secrecy feeds the underlying drama of law, art history and family in this thriller. —Mary Faraci, Florida

Venetian art - Venice - Themes and motives - Narrative painting Renaissance Italy.

Jan Morris returns to Venice in this loving tribute to one of the great Renaissance masters. In the course of writing Venice, her 1961 classic, Jan Morris became fascinated by the historical presence of a sometimes-overlooked Venetian painter. Nowadays the name of Vittore Carpaccio (1460–1520) suggests raw beef, but to Morris it conveyed far more profound meanings. Thus began a lifelong infatuation, reaching across the centuries, between a renowned Welsh writer and a great and delightfully entertaining artist of the early Renaissance. Handsomely designed with more than seventy photographs throughout, Ciao,Carpaccio! is a happy caprice of affection. In illuminating the life of the artist and his paintings, Morris throws in digressions about Venetian animals, courtesans, babies, ships, architecture, and history, and caps it all with thoughtful analyses of Carpaccio’s spiritual convictions. Part biography, part art interpretation, part personal odyssey, and all lots of fun, Ciao, Carpaccio! will no doubt help to rescue the name of a noble artist from its popular interpretation as an item of cuisine.

Carpaccio (1460?-1525) is best known for his large paintings still in their original sites in Venice, among them: the life of Saint Ursula in the Scuola di Sant'Orsola, and the stories of Saint Jerome and Saint George in the Scuola di San Giorgio degli Schiavoni. The author, an art scholar and flamb

In this book the native Venetian art scholar Stefania Mason takes the reader through a critical appraisal of the painter Vittore Carpaccio, focusing primarily on the four superb cycles of paintings he executed under commission from the city's confraternities between 1490 and 1520. What emerges from the author's insightful analysis is Carpaccio's unerring vision of the Venice of his times, deftly woven with complex allegorical allusions to create vast narrative tableaux that catered to the Venetian institutions' keen awareness of the power of imagery. The study begins with the fabled" Life of St Ursula" cycle (1490-c. 1498), now in the Gallerie dell'Accademia in Venice, in which Carpaccio shows his skilled handling of perspective, endowing his canvases with a mixture of recognisable townscapes and imaginary landmarks of medieval stamp, whose visual cues include personages, gestures, customs and ceremonies in a rhythmical interweaving of reality and legend. Next comes the cycle executed for the Scuola di San Giorgio degli Schiavoni (1502-c. 1507), featuring Sts George, Triphun and Jerome, in which an errant knight and a hermit saint lead the observer into a mythical Orient. The masterpiece of the series is the "Vision of St Augustine," where the saint is alone in his study and the disembodied spirit of St Jerome enters by the window in the form of brilliant light illuminating the entire room with its domestic minutiae and panoply of humanistic attributes. No longer "in situ" but dispersed among various museums are the last two series carried out by Carpaccio, this time with assistants: the "Life of the Virgin" cycle for the Scuola degli Albanesi (1502-c. 1507); and the setdepicting the" Life of St Stephen" for the "scuola" dedicated to the saint (1511-20), a remarkable eulogy to stone and its manifold uses in building and sculpture (many of the confraternity's members were stonemasons). The selection of details and close analysis of Carpaccio's canvases afford a cogent visual guide and critical assessment of this great master of Renaissance painting. Born in Venice, Stefania Mason teaches Art History at the University of Udine, Italy, where she is coordinator for doctorates in research and heads specialisation courses in art history. Her work focuses principally on painting and drawing, on the relationship between art, devotion, and patronage, and on Venetian collecting from the 1400s to the 1600s. Among her numerous publications is a monograph on Palma Giovane (1984). A noted art scholar specialised in the history of Venetian painting and sculpture from the 1400s to 1600s, Linda Borean is a regular contributor to leading art journals, including" Arte Veneta" and "The Burlington Magazine."