29:
17:
418:
481:
460:
376:
439:
334:
397:
355:
288:. About three quarters were painted by artists trained or active in Venice and the Veneto. About three quarters were painted between 1470 and 1530, with the largest number in the first decade of the 16th century. About four fifths contain the artist's signature. A third include a date, often alongside a signature. Rawlings identifies another 74 paintings from outside Italy that include
62:
It usually takes the form of a fictive rectangular scrap of parchment or paper – sometimes with frayed edges, creased or torn – which is depicted as being attached with a pin or wax to a surface that lies parallel to the picture plane, perhaps a foreground parapet or a background wall. Often the
51:(Italian for "small piece of paper") is an illusionistic portrayal of a written note included in painting, mostly from the with a legend that records the name of the artist, the date, the subject, or some other relevant information about the work. About 500
197:
fell out of fashion, as artists desired to be known directly from the virtuosic quality of their work, not as craftsmen with a workshop whose work was identified by their name on a label. By 1548, a character in
76:
effect may reflect an earlier artistic practice of real notes being physically attached to paintings. Other suggestions of the origins include the inscriptions included in the
245:
from other written element including in a painting, such as depictions of inscriptions in stone or on wooden plaques, or writing in books held by subjects, or on streamers or
417:
491:
480:
438:
459:
375:
449:
186:
28:
333:
67:
gives the impression of the note being attached to the surface of the painting rather than being part of the artwork itself.
428:
176:
396:
16:
354:
115:
77:
470:
234:
265:, or label. Despite the similarity of the word, there is little evidence of any connection with the
561:
297:
215:
32:
465:
309:
225:
246:
220:
37:
613:
444:
181:
344:
91:
52:
590:
8:
274:
577:
365:
270:
146:
305:
72:
542:
132:
99:
293:
423:
386:
171:
156:
568:
Ostrow, Steven F. (2017). "Zurbarán's 'Cartellini': Presence and the 'Paragone'".
86:
360:
141:
284:, almost all religious subject or portraits. Early examples are connected with
402:
161:
118:
from the 15th century into the 16th century, and particularly in painting from
607:
511:
407:
339:
166:
137:
506:
486:
320:
81:
381:
151:
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in about a fifth of his autograph works, including his 1628 painting of
535:
249:. Other contemporary terms that were used for the same device include
199:
262:
301:
123:
119:
285:
95:
241:
In her 2009 PhD thesis, Kandice
Rawlings distinguishes the
59:, but the device has been adopted by some later artists.
24:, a detail from Holbein's portrait of Georg Giese (below)
90:, and from the artistic practice at the studio of
210:as a laughable thing. However, there are several
140:, painted in 1437. Other early examples include
605:
126:from the 1470s to the 1520s. One of the first
280:Rawlings documents 412 Italian paintings with
296:in the early 16th century, England, mainly
98:, based on the gothic inscriptions seen in
599:(PhD). New Brunswick: Rutgers University.
304:in the late 16th and early 17th century,
588:
27:
15:
450:Still-Life with Partridge and Gauntlets
187:Still-Life with Partridge and Gauntlets
606:
567:
300:in the mid-1500s, and Spain, mainly
292:, principally from Germany, mainly
160:of c.1455. Later examples include
13:
14:
625:
429:Portrait of Doge Leonardo Loredan
177:Portrait of Doge Leonardo Loredan
479:
458:
437:
416:
395:
374:
353:
332:
596:in Italian Renaissance painting
524:
1:
555:
78:Early Netherlandish paintings
564:, Glossary, National Gallery
116:Italian Renaissance painting
7:
500:
10:
630:
589:Rawlings, Kandice (2009).
105:
319:had a knowing revival in
261:– that is, small letter,
517:
216:Hans Holbein the Younger
33:Hans Holbein the Younger
221:Portrait of Georg Giese
38:Portrait of Georg Giese
592:Liminal Messages: the
541:means "sign", and the
312:as late as the 1660s.
42:
25:
466:Francisco de Zurbarán
226:Francisco de Zurbarán
53:Renaissance paintings
31:
19:
345:Madonna of Tarquinia
144:'s 1448 painting of
92:Francesco Squarcione
534:means "paper", the
530:In modern Italian,
492:Zapatista Landscape
325:Zapatista Landscape
206:was describing the
84:, such as his 1432
445:Jacopo de' Barbari
308:in the 1630s, and
204:Dialogo di pittura
182:Jacopo de' Barbari
100:medieval paintings
43:
26:
543:double diminutive
133:Tarquinia Madonna
621:
600:
585:
549:
528:
483:
462:
441:
424:Giovanni Bellini
420:
399:
387:Wimborne Madonna
378:
357:
336:
275:Christ's Passion
172:Giovanni Bellini
157:Wimborne Madonna
20:An example of a
629:
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623:
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619:
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403:Carlo Crivellia
400:
391:
379:
370:
361:Andrea Mantegna
358:
349:
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224:from 1532, and
142:Andrea Mantegna
130:appears on the
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12:
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5:
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617:
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471:Saint Serapion
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394:
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380:
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359:
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294:Albrecht DĂĽrer
273:, a symbol of
235:Saint Serapion
162:Carlo Crivelli
107:
104:
9:
6:
4:
3:
2:
626:
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614:Visual motifs
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512:Musca depicta
510:
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467:
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408:Lenti Madonna
404:
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356:
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347:
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340:Filippo Lippi
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196:
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174:'s 1501–1502
173:
169:
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167:Lenti Madonna
163:
159:
158:
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149:
148:
143:
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138:Filippo Lippi
135:
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97:
93:
89:
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87:LĂ©al Souvenir
83:
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68:
66:
60:
58:
54:
50:
49:
40:
39:
34:
30:
23:
18:
595:
591:
576:(1): 67–96.
573:
570:Art Bulletin
569:
548:means "tag".
545:
538:
531:
526:
507:Museum label
490:
487:Diego Rivera
469:
448:
427:
406:
385:
364:
343:
324:
321:Diego Rivera
316:
314:
289:
281:
279:
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258:
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194:
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185:
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145:
131:
127:
111:
109:
85:
82:Jan van Eyck
73:trompe-l'Ĺ“il
71:
69:
64:
61:
56:
47:
46:
44:
36:
21:
382:Marco Zoppo
152:Marco Zoppo
114:appears in
594:cartellino
562:Cartellino
556:References
546:cartellino
536:diminutive
317:cartellino
290:cartellini
282:cartellini
267:cardellino
247:banderoles
243:cartellino
230:cartellini
212:cartellini
208:cartellino
200:Paolo Pino
195:cartellino
164:'s c.1480
128:cartellini
112:cartellino
65:cartellino
57:cartellino
55:include a
48:cartellino
22:cartellino
306:Velázquez
271:goldfinch
263:cartouche
251:letterina
228:included
80:works of
608:Category
582:44973137
539:cartello
501:See also
432:, 1501-2
411:, c.1480
390:, c.1455
323:'s 1915
310:Zurbarán
302:El Greco
259:bolletta
255:cartucce
184:'s 1504
122:and the
474:, 1628
366:St Mark
298:Holbein
147:St Mark
106:History
580:
495:, 1915
453:, 1504
369:, 1448
348:, 1437
257:, and
150:, and
124:Veneto
120:Venice
41:, 1532
578:JSTOR
532:carta
518:Notes
286:Padua
96:Padua
70:This
315:The
193:The
190:.
180:and
110:The
327:.
277:).
218:'s
214:in
202:'s
154:'s
136:by
94:in
610::
574:99
572:.
489:,
468:,
447:,
426:,
405:,
384:,
363:,
342:,
253:,
238:.
170:,
102:.
45:A
35:,
584:.
269:(
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