Art of Venice About Venice

• Port City • An internaonal center of trade--Middle Ages and Renaissance • City built on water • Renaissance republic that remained invulnerable to aack • Free of foreign dominaon from 1500 on • “Myth of Venice” • Governmental blend but Great Council emphasized rule of law over individual expression • Early 15c conservave--rooted in Byzanne and Gothic tradions. In tune with rich colors and paerns of Internaonal Style • Family run workshops • Cra vs. Liberal Art The family workshop tradion

Genle Bellini, Procession of the Reliquary of the Cross in Piazza San Marco, 1496. Oil on canvas; 12 . ½ in. X 24. 5 ¼ in. • Genle Bellini— reputaon as portraist

• Aer peace treaty between Ooman Empire and Venice the sultan requested a Venean portraist be sent to his court in Constannople

• Brought with his Jacopo’s sketches

• The light, etc. of Venice Genle 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 Ooman Empire and Child with St. Anne, Leonardo da Vinci, 1503-1506. Oil on wood. 5’6” X 3’8”. , Paris. • was the arst most instrumental in bringing the Renaissance style to Venice

• Sacra conversazione— 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 Bapst, Job, St. Dominic with book, Sebasan, St. Louis of Toulouse

• Angels represent the and echo cross at back

• Foundaon of Venean High Renaissance Painng

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 aer 1501. Oil on wood; 24 ¼ X 17 ¾ in.

Michelangelo, Sisne Chapel Ceiling, Scene of the Deluge, 1508-1512. Fresco. Sisne Chapel, Vacan City, Rome.

Michelangelo, Creaon of Adam from the Sisne Chapel Ceiling, 1508-1512. Fresco. Sisne Chapel, Vacan City, Rome. Fall of Man, Michelangelo, Sisne Chapel ceiling. Buon fresco. , Tempest, c. 1505-1510. Oil on canvas; 31 ¼ X 28 ¾ in.

• Venean love of landscape • Studied with Giovanni Bellini • Inmate relaonship between figures and landscape • Brushwork • Color • Ambivalent pov and Vasari on painng and sculpture Giorgione, Sleeping Venus, c. 1509. Oil on canvas; 3 . 6 ¾ in. X 5 . 9 in.

Tian, Venus of Urbino, c. 1538. Oil on canvas; 3 . 11 in X 5 . 5 in. Tian, 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 • Revoluonary composion • 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 twenes

• Tian 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

• Tian could make “an excellent figure appear in four brushstrokes”

Tian, Isabelle d’Este, 1534-1536. Oil on canvas; 40 X 25 in. • Pietro Areno and color vs. Vasari and drawing

• Doge Gri vs. Bellini’s Doge Loredon

Tian, Doge Andrea Gri, 1550s. Oil on canvas; 52 2/3 in. X 40 2/3 in. Tian, 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.