The Parts That Make a Much Bigger Whole: The Void in Scholarship Surrounding Vittore Carpaccio’s Saint Augustine in His Study
Description/Abstract/Artist Statement
Vittore Carpaccio’s Saint Augustine in His Study is the last in a series about Saint Jerome, commissioned by the Scuola di San Giorgio degli Schiavoni in 1502. The most vital piece of scholarship on this work is “Saint Augustine in ‘Saint Jerome’s Study:’ Carpaccio’s Painting and Its Legendary Source” by Helen I. Roberts, which brought to light that the man depicted is Saint Augustine, not Saint Jerome, as previously assumed. Edward E. Lowinsky’s “The Music in ‘Saint Jerome’s Study’” goes into detail about the exact music depicted and its uses. Fredrika Herman Jacobs goes a little further in her article, “Carpaccio’s Vision of Saint Augustine and Saint Augustine’s Theories of Music,” focusing on how the music and other pieces of iconography within the painting connected Saint Augustine with Saint Jerome and his own myth. Others mention the painting in passing as examples, like Patricia Fortini Brown’s Venetian Narrative Painting in the Age of Carpaccio. Some dance around the core of the painting, like Alexander Nagel and Christopher S. Wood’s paper. Saint Augustine in His Study by Vittore Carpaccio has not been considered by its pieces, which create a whole that connects Carpaccio’s iconography and use of items to both the myth of Venice as well as items of daily relevance to Venetians of his time. By examining the formal and iconographic details within Saint Augustine’s study against Venetian culture and its mythmaking agenda, the objects directly point to not only the myths of Venice, but the daily lives of Venetians.
Faculty Advisor/Mentor
Anne Muraoka
Faculty Advisor/Mentor Department
Art Department
College Affiliation
College of Arts & Letters
Presentation Type
Oral Presentation
Disciplines
History of Art, Architecture, and Archaeology
Session Title
Art History 3: New Interpretations & Connections
Location
Learning Commons @Perry Library, Room 1306
Start Date
3-25-2023 12:00 PM
End Date
3-25-2023 1:00 PM
The Parts That Make a Much Bigger Whole: The Void in Scholarship Surrounding Vittore Carpaccio’s Saint Augustine in His Study
Learning Commons @Perry Library, Room 1306
Vittore Carpaccio’s Saint Augustine in His Study is the last in a series about Saint Jerome, commissioned by the Scuola di San Giorgio degli Schiavoni in 1502. The most vital piece of scholarship on this work is “Saint Augustine in ‘Saint Jerome’s Study:’ Carpaccio’s Painting and Its Legendary Source” by Helen I. Roberts, which brought to light that the man depicted is Saint Augustine, not Saint Jerome, as previously assumed. Edward E. Lowinsky’s “The Music in ‘Saint Jerome’s Study’” goes into detail about the exact music depicted and its uses. Fredrika Herman Jacobs goes a little further in her article, “Carpaccio’s Vision of Saint Augustine and Saint Augustine’s Theories of Music,” focusing on how the music and other pieces of iconography within the painting connected Saint Augustine with Saint Jerome and his own myth. Others mention the painting in passing as examples, like Patricia Fortini Brown’s Venetian Narrative Painting in the Age of Carpaccio. Some dance around the core of the painting, like Alexander Nagel and Christopher S. Wood’s paper. Saint Augustine in His Study by Vittore Carpaccio has not been considered by its pieces, which create a whole that connects Carpaccio’s iconography and use of items to both the myth of Venice as well as items of daily relevance to Venetians of his time. By examining the formal and iconographic details within Saint Augustine’s study against Venetian culture and its mythmaking agenda, the objects directly point to not only the myths of Venice, but the daily lives of Venetians.