Art of Venice About Venice
• Port City • An interna onal center of trade--Middle Ages and Renaissance • City built on water • Renaissance republic that remained invulnerable to a ack • Free of foreign domina on from 1500 on • “Myth of Venice” • Governmental blend but Great Council emphasized rule of law over individual expression • Early 15c conserva ve--rooted in Byzan ne and Gothic tradi ons. In tune with rich colors and pa erns of Interna onal Style • Family run workshops • Cra vs. Liberal Art The family workshop tradi on
Gen le Bellini, Procession of the Reliquary of the Cross in Piazza San Marco, 1496. Oil on canvas; 12 . ½ in. X 24 . 5 ¼ in. • Gen le Bellini— reputa on as portrai st
• A er peace treaty between O oman Empire and Venice the sultan requested a Vene an portrai st be sent to his court in Constan nople
• Brought with his Jacopo’s sketches
• The light, etc. of Venice Gen le Bellini, Sultan Mehmet II, c. 1480. Oil on canvas. 27 ¾ X 20 5/8. Map showing the Republic of Venice and its proximity to O oman Empire Madonna and Child with St. Anne, Leonardo da Vinci, 1503-1506. Oil on wood. 5’6” X 3’8”. Louvre, Paris. • Giovanni Bellini was the ar st most instrumental in bringing the Renaissance style to Venice
• Sacra conversazione—altarpiece in which saints are grouped in a unified space around the Virgin and Child in a single panel
• Renaissance elements?
• Quality of the light
• Mary and Infant Christ are focal point
• St. Francis, John the Bap st, Job, St. Dominic with book, Sebas an, St. Louis of Toulouse
• Angels represent the trinity and echo cross at back
• Founda on of Vene an High Renaissance Pain ng
Giovanni Bellini, San Giobbe Altarpiece, 1480s. Oil on wood; 15 . 4 in. X 8 . 4 in. Belgium
Republic of Venice Robert Campin, Merode Altarpiece (open), c. 1425-1430. Tempera and oil on wood. Giovanni Bellini, Doge Leonardo Loredan, soon a er 1501. Oil on wood; 24 ¼ X 17 ¾ in.
Michelangelo, Sis ne Chapel Ceiling, Scene of the Deluge, 1508-1512. Fresco. Sis ne Chapel, Va can City, Rome.
Michelangelo, Crea on of Adam from the Sis ne Chapel Ceiling, 1508-1512. Fresco. Sis ne Chapel, Va can City, Rome. Fall of Man, Michelangelo, Sis ne Chapel ceiling. Buon fresco. Giorgione, Tempest, c. 1505-1510. Oil on canvas; 31 ¼ X 28 ¾ in.
• Vene an love of landscape • Studied with Giovanni Bellini • In mate rela onship between figures and landscape • Brushwork • Color • Ambivalent pov and Vasari on pain ng and sculpture Giorgione, Sleeping Venus, c. 1509. Oil on canvas; 3 . 6 ¾ in. X 5 . 9 in.
Ti an, Venus of Urbino, c. 1538. Oil on canvas; 3 . 11 in X 5 . 5 in. Ti an, Pesaro Madonna, 1519-1526. Oil on canvas; 15 . 11 in X 8 . 10 in.
• Altarpiece commissioned for the family church in Venice by Jacopo Pesaro who commandeered a Papal fleet to defeat Turkish forces • Version of a sacra conversazione • Revolu onary composi on • Light and color but also modeling of forms
• Isabelle (wife of Charles V the HRE) was past sixty but wanted her portrait painted as she was in her twen es
• Ti an worked from a drawing to created a portrait of a physically youthful but also strong, mature and self-confident
• Built of layers of paint built up in individual brushstrokes of pure color
• Ti an could make “an excellent figure appear in four brushstrokes”
Ti an, Isabelle d’Este, 1534-1536. Oil on canvas; 40 X 25 in. • Pietro Are no and color vs. Vasari and drawing
• Doge Gri vs. Bellini’s Doge Loredon
Ti an, Doge Andrea Gri , 1550s. Oil on canvas; 52 2/3 in. X 40 2/3 in. Ti an, Rape of Europa, 1559-1562. Oil on canvas; 73 X 81 in.
Giovanni Bellini, Saint Jerome in the Desert, 1455. Tempera. Giovanni Bellini, Agony in the Garden, Giovanni Bellini, St. Francis in Ecstacy, 1480. Oil and tempera on panel. Frick dates to 1476-1478. Giovanni Bellini, St. Jerome in the Desert, 1480-87. Giovanni Bellini, St. Jerome in the Countryside, 1505. Oil.