The Art of Venice

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The Art of Venice Justina Yee National Gallery of Art How was Venetian Renaissance art and its legacy distinct from Central Italy? • Venice’s geo-political stability and aesthetic diversity • “Pictorial Poetry”: landscape as narrative and use of oil • Disegno vs. Colorito: truth vs. myth • Titian’s long career and legacy “Mundus Alter” – Petrarch Jacopo de’ Barbari, Bird’s eye view of Venice, c.1500, printed from a six-piece woodcut Italy’s city-states during the Renaissance Egnazio Danti, Venice, 1580- 81, Fresco Moretto da Brescia, Portrait of a Lady in White, c. 1540 Sebastian del Piombo, Cardinal Bandinello Sauli, His Secretary, and Two Geographers, 1516 Giovanni Bellini and Titian, The Feast of the Gods, 1514/1529 Giorgione, The Adoration of the Shepherds, 1505/1510 Giorgione or Titian, Pastoral Concert c. 1510 (detail) Manet, Le Dejeuner sur l’herbe, 1863 Giorgione, The Tempest, c. 1506 Titian, Assumption of the Virgin, c. 1516 “Frari” (Basilica di Santa Maria Gloriosa dei Frari) Titian, Doge Andrea Gritti, 1546/1548 Titian, Portrait of a Lady, c. 1555 Ghirlandaio, Lucrezia Sommariac, c. 1510 Titian, Venus with Mirror, c. 1555 Disegno vs. Colorito Titian concealed “under the charm of his colors his poor knowledge of how to draw.” -Giorgio Vasari (Lives of the Artists, c. 1568) “No one [was] superior to Titian because of prowess in draftsmanship.” - Ludovico Dolce (Dialogo della Pittura, 1557) Titian, Group of Trees, c. 1514 Titian, Studies for Averoldi Polyptych, c. 1520 Titian, Averoldi Polyptych, c. 1520-22, Church of Santi Nazaro e Celso, Brescia xxx Francesco Maria della Rovere, Duke of Urbino, 1536 (drawing), 1536-38 (painting) Titian, St. Theodore and the Dragon, c. 1560 Titian, Flaying of Marsyas, c. 1575 Titian, Self-Portrait, c. 1567 Detail, Titian, Self- Portrait, c. 1567 Tintoretto, Self-Portrait, c. 1588 Self-Portrait, Diego Velázquez, c. 1645 Self-Portrait, Rembrandt van Rijn, 1659 Self-Portrait, James McNeill Whistler, c. 1896-98 Tintoretto, Last Supper, c. 1592-94 San Giorgio Maggiore Leonardo, Last Supper, 1495–1498 .

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THE LATE RENAISSANCE and MANNERISM in SIXTEENTH-CENTURY ITALY 591 17 CH17 P590-623.Qxp 4/12/09 15:24 Page 592
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