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Renaissance Venetian Art Venice in the Sixteenth Century: Giorgione, Titian and the Notion of Colore

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Renaissance Venetian Art Venice in the sixteenth century: Giorgione, Titian and the notion of colore Entered inside Paris Jacopo de Barbari, View of Benice, 1500, woodcut View of city of Venice Shows The distinctiveness of the city of Venice A city funded on an island, main transportation are canals, the city is surrounded by the lagoon (natural defence) By boat direly to the area around the Basilica of ST. Mark (the center) Distinctive geographic location: space is limited, building of Venice has to rise up which is very different all the other cities The south sea: the climate is very humid and damp , in terms of works of art, fresco was never painted – dry in summer and humid in winter – bad for keeping fresco Oil on canvas panel Giovanni Bellini, San Giobbe Centre of trade, wealthy citizens, main centre for book production. When encountered in the pass: printing culture technique (durer + Raimondi) Giovanni - came from a family of artists All the Saints are set against mosaics; the church look alive as Venetian church, Oil on panel, Saint Frances, showing ? in his hand in showing the viewer in this painting, The altar piece within the frame, when removed in church and transferred to museum, mostly frame are lost The tonal unity of the colour the governs the entire altarpiece Newest and most modern ways to organized the saints surrounding the Madonna and the child, in a kind of very different conventional fashion in Venice o Pala d’Oro – multiple panels with multiple pieces Artists unify the space and recreate the space around the protagonist Antonello da Messina, Enthroned Madonna and Child with Saints for San Cassiano Fragment of the original altarpiece The surrounding architecture as church In same technique – oil on panel Sisley Introduce and educated people More or less were produced the same time, and the kind of role display by St Frances and the believers – invited people to meditate Giorgione, Castelfranco Altarpiece, ca. 1504-5 An altarpiece in his hometown not for the main altar but for the side chapel Vasari: connection between Leonardo and this young artist, and the interest in the landscape + the soft manner we see Comparison: younger artists transformity of Leonardo but also he knew Bellini’s work, the thrown , the saint surrounding the Madonna; Difference: Madonna has been placed in a very high thrown Bellini: in a church structure; Giorgione: landscape Tempest His painting si very innovative and important Controversy in the subject of the painting Thundering cloud and light, dark sky in the background A topic of intense speculation of art historians Recreation A naked women – nursing a baby in a landscape In front of her is a standing male figure: German soldier, look at her but not taken by the women, the first initial thought was a women but unknown substitute by the male Landscape: bridge and city, and sudden shift of weather Sleeping Venus Mythological subject – Venus: naked, beautiful Sleep in the landscape A subject kept in a private space and enjoy within the elites sophisticated circle A cupid was repainted The equal and curve of Venus resonance with the landscape Attribution: most think it is a Giorgione work; Titian intervened, (worked with Giorgione) ; what we had a master and a young Titian Portrait of a Young Woman Only painting by Giorgione with date Looking outside and set against aloral (trees) Laura Painting within the context of wedding Potential right to show up with her pose and luxurious coat – red cloth and fur The tender flash of her skin Comparison: Portrait of an Old Woman The effect of time had actually produced Col tempo = with time The object of beauty and desire and be transfer by time Not the same women Titian, Pastoral Concert or Allegory of the Invention of Pastoral Poetry 1510: Giorgione died Make connection with Venus: the abstruseness of the 2 subjects; Venus sleeping peacefully and exposing herself with her; Pastoral: landscape and have 2 male figures, elegant citizen and a peasant and food there; making music and in their dialogue How colours are treated, how female body are used in the central ways, allow mind to wonder somewhere else Subject could be the invention of pastoral poetry; feast of joy; but hard to define the subject, like the tempest, doesn’t quite tell us what the real subject is Lyrical subject displaced in a small room in Paris in a contemplation of male viewers Women does not really have enough power and wealth to become patrons of art in Italian Renaissance at the time Assumption of the Virgin, Church of Santa Maria Gloriosa dei Grari Seen as innovator A medieval gothic church the characteristic of the screen – divided the nave into 2 zone; altar mass take place/belivers; walk through the nave and still located in front of the altar dimension lower register with apostles and higher register of assumption of the virgin dedication of the church to the glorious Virgin, and is sending to heaven the monumentality of the Altarpiece, each zone is almost 3 m, majestic figures, main criticism is about the huge monumenity of the apostles full of animation and gestures constructed according to norms and symmetry colour aer vivid and light, fully immersed in the full light Pesaro Madonna Chapel on the side of the church, altar piece on top of altar Condition of viewing : The origin location must be dictated in a way the viewer conceived the subject when they approached from the nave A symmetrical and vertical construction of the subject but diagonal construction of the subject On the stairs there is St Peter, the family whose leading members of Venice is a leading man he was a Victoria captain, portrait as mental, red rope ; victory of Christianity (not only for Venice) Open space, the commons organized the space and added his own innovation by given ? to his figure Titian went through 3 different set of subject- original of subject and took a lot of thinking and recalibration to make this diagonal angel Comparison: Assumption of Virgin, Madonna Similarities: same church, same artists Difference: Main altarpiece and colossal altarpiece, a diagnosed composition and unbalanced composition Pieta Repository of major art, and meant a lot of Titian himself Left Pieta unfinished when he died Supposed to be on top of Wanted to be buried in the church somewhere Old style of Titian, he is blind and couldn’t see properly, and paint 2 arts No more refined quality A sense of a work of art out of his memory and still continues to paint with mistakes She’s directing her gesture to a figure outside we don’t see Totally different style Did for himself but not the commissioned Pieta & Madonna By Titian - clear shift Portrait of Isabella d’Este Renaissance women , married ruling family, sophisticated, learning women, she was also from her correspondence – the most friendly from her hair and dress If fact several artists did her portrait – she was never satisfy for all these portrait produced for her o Reproduce as what she was – she was 60s, but want to represent as wealth and personality o She was happy by Titian’s work, and want to be seen as such The detail – look wealthy Venus of Urbino After Almost 20 years, Titian went back to the subject One is asleep Venues; Titian’s Venus looking at us in a intricate gaze Subject is rested in a bedroom, the 2 servants are storing clothes, a chamber, probably a Venetian sleeping room This painting should be seen within the context of wedding; possibility, but too aggressive to present to potential lovers There are 2 elements: dog peacefully sleep on the back, a symbol for fidelity, Venus hold Roses and ? which is also celebration of wedding, Connected to a wedding, but may not for the initiation of preparation of wedding Titian, Danae Mythological Subject Story of young girl locked in a castle by her father Jupiter transform himself into shower of gold and coming down to meet her The Venus is lay down on her bed Danae was painted by cardinal of a church meant to seen in a private space for his own personal enjoyment Sebastiano Serlio, Palace façade in the Venetian manner with the Doric and the Ionic order, from Serlio’s treatise The typical Venetian palace was a tower A palace of multiple floors = 2~3 floors Doric order at the Ground and Ionic order at upper floor Instead the wealth was divided up by Build on water, ground floor have storage space down the floor and receiving guests are impossible The portego – the reception hall: dining room facing the canal and the private chamber and in between there was portego was used for wedding celebrations and banquets o A Venetian Ball Scene o A space full of light and several windows Lambert Sustris, Venus in her Bedchamber Sustris Venus that was displaced in a private chamber was a recreation of Venus by Titans .
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