Benvenuti a Garden Paradiso: Jesolo lodging - Art
Conspicuous the Roman monuments, of which important those of Veronacon the arena, the theater and other notable rests, but interesting also those of Padua, Harmony, Vicenza, Altino, Oderzo etc. Á. the age paleocristiana (sec. IV-there) they go up again the sacello of St. Prosdocimo, connected to the basilica of Saint Giustina to Padua and that of Saint Maria Mater Dominates of the basilica of the Saints Felice and Fortunate to Vicenza. Of epoch longobarda (sec. VIII) it is the ciborium of the parish of St. George of Valpolicella, while the influence Byzantine-ravennate it prevails in the Venetian circle. Of Carolingian age is the small church of St. Zeno to Bardolino (sec. IX); examples of art ottonianas are the apse of the church of Saint Sofia to Padua (halves the sec. X), type lombardo and the bronzy door of St. Zeno to Verona (beginnings of the sec. XI), exceptional example of art preromanica. The sec. XI-XIIs introduce a different characterization of the artistic demonstrations. The western part of the region is strongly influenced by the Romanesque lombardo, whose greater demonstration is the church of St. Zeno to Verona (sec. XII), the Venetian area is instead predominantly dominated by the culture ravennate and Byzantine. The bell tower of the church of Caorle, the cathedral and the church of Dark Saint to Torcello (sec. XI) they derive in fact from the architecture esarcale and postesarcale. In the sec. XIII the maximum artistic center of the region is the new basilica of St. Mark to Venice, to whose decoration worked the most greater mosaicistis and sculptors of the time. Few stays some most ancient decoration, of evident Byzantine descent, while that of the dome of the Ascension and the central arcone (sec. XII-XIII) it already points out a more original interpretation and a new dramatic accentuation to finally reach the Histories of St. Mark of the last decades of the century, in which he underlines an evolution toward the Gothic one. From the second halves the sec. XIII predominates the influence of the Gothic one, whose first great demonstration in architecture is the basilica of Sant' Anthony to Padua, in which you/they place side by side others as the domes of clear Venetian inspiration to elements of French derivation. Always to Padua the cycle giottesco of the Chapel of the Scrovegnis is found, one of the maximum examples of the Italian Gothic painting. Numerous the constructions both civilians both religious, of the sec. XIV; among the first ones the Building of the Reason for Padua (initiated in 1215), from the picturesque and airy architecture, the Castelvecchio in Verona (initiated in 1354), among the most monumental of the kind and the splendid Ducal Building in Venice (1348-1400), from the audacious and original structure; among the seconds, to Venice, the two imposing docks of the Saints Giovanni and Paul and of Saint Maria Gloriosa of the Fraris, in which the architectural elements melt him with a strong pictorial component; to Treviso, the church of St. Nicolò, of derivation emiliana, covered by the typical ceiling “to hull”, that he finds again in the two great churches veronesi of Saint Anastasia and of St. Fermo Maggiore. These, to the peer of the cathedral of the same city, they are examples of an interpretation of the Gothic one still tied to elements of Romanesque tradition. Overall less meaningful the sculpture. In the first decades of the century in Venice it is still influenced by the Byzantine tradition, while the influence of Giovanni Pisano is evident in the ark of St. Luca in Saint Giustina to Padua (1316) and in the grave of Francis de Salomone (1322) in the cathedral of Treviso. To Verona, traditionally sensitive to the influences lombardi, the complex of the arks scaligere, work of various authors, among which Champion Bonino, is an example of different stylistic and cultural components, in prevalence campionesi. For the painting, notable the discrepancy between the Venetian area and the hinterland. To Padua the influence giottesco is strong a great deal on Ridolfo Guariento and on the great Altichiero, active also to Verona; Treviso is instead zone of influence emiliano for the active presence of Thomas from Modena. To Venice Paolo Venetian it accents the tones of Byzantine, while more modern derivation it is the art of Lawrence Veneziano; on to end some century, Stephen from Verona is a fanciful representative of the Gothic international. With the important works of Pisanello, active to Verona, of the Vivarinis and of Jacopo and Kind Pretty to Venice he is to the thresholds of the Renaissance. Padua is the center from which the new cultural influences are radiated, maximally for the presence of Donatello, active in the basilica of the Saint and author of the famous monument to the Gattamelata; padovano is also the first great painter Venetian humanist, A. Mantegna. The Renaissance architecture to Venice is introduced by artists lombardi as the Solariums, M. Coducci or veronesi as A. Rizzo up (Saint Maria Formosa, Procuratie Vecchie). In the hinterland, the new ways of Renaissance imprint are evident in the Loggia of Among' Joyous to Verona and in the Building of the Rectors to Belluno. Among the sculptors, notable to Padua, on the wake of Donatello, N. Pizzolo and B. Belluno. The painting finds in Giovanni Bellini, A. Vivarini and V. Carpaccio the original interpreters of the new Tuscan influences, typically felt with an accentuation Venetian coloristica. The sec. XVI is among the most splendid of the Venetian art; in the first halves the century, the presence to Venice of architects and sculptors as the Florentine I. Sansovino gives new stimuli and new impulse, finding continuatori of high-level in M. Sanmicheli, hard-working also to Verona, and in the padovano G. M. Falconetto. Maximum architect of the sec. XVI is A. Palladio however, that in his/her vast work, from the buildings vicentini to he/she asked her of the Savior and of St. George Maggiore, to Venice, up to the numerous villas, it places among the greatest European architects of the modern age. Huge to Venice it was the luxuriance of the painting, initiated with the work of Giorgione and the giorgioneschis and continued by artists what L. Lotto, the Pordenone and the “three great”: Titian, Tintoretto and Veronese. The architecture of the sec. XVII, still partly dominated by the influences palladiani, it has only a great protagonist in B. Longhena, that realizes an original interpretation of the Baroque taste. In the figurative arts the sec. XVII is one period of substantial stasis, with strong influx of foreign artists, that damage origin in local shops not always of high-level..
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