In a two part essay, Bernhard Gaul considers texts on Carpaccio (by Michel Serres and Andrey Tarkovsky) in relation to viewing Carpaccio's paintings.

Gaul writes: "Carpaccio doesn’t appear to be that high up on the hit list of currently popular painters. Even in Venice, the painter’s home town, his work appears to be marketed as something that is also there, in the shadow of much bigger names like Titian, Tintoretto, Tiepolo and Veronese or, of course, Canaletto – rather than a principle reason to visit. I assume this may have to do with the impression that in much of Carpaccio’s work painting bears all the hallmarks of a craft – it appears more rooted in community than being the domain of an eccentric individual (like Caravaggio or van Gogh), while we have become accustomed to expect that it takes the latter to create paintings of real meaning, that speak to us directly…"