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VENETIAN PAINTING in the AGE of TITIAN P TITIAN and the RENAISSANCE inVENICE EDITED BY BASTIAN ECLERCY AND HANS AURENHAMMER WITH CONTRIBUTIONS BY MARIA ARESIN HANS AURENHAMMER ANDREA BAYER ANNE BLOEMACHER DANIELA BOHDE BEVERLY LOUISE BROWN STEFANIE COSSALTERDALLMANN BENJAMIN COUILLEAUX HEIKO DAMM RITA DELHÉES JILL DUNKERTON BASTIAN ECLERCY MARTINA FLEISCHER IRIS HASLER FREDERICK ILCHMAN ROLAND KRISCHEL ANN KATHRIN KUBITZ ADELA KUTSCHKE SOFIA MAGNAGUAGNO TOM NICHOLS TOBIAS BENJAMIN NICKEL SUSANNE POLLACK VOLKER REINHARDT JULIA SAVIELLO FRANCESCA DEL TORRE SCHEUCH CATHERINE WHISTLER AND MATTHIAS WIVEL PRESTEL MUNICH · LONDON · NEW YORK TITIAN and the RENAISSANCE inVENICE EDITED BY BASTIAN ECLERCY AND HANS AURENHAMMER WITH CONTRIBUTIONS BY MARIA ARESIN, HANS AURENHAMMER, ANDREA BAYER, ANNE BLOEMACHER, DANIELA BOHDE, BEVERLY LOUISE BROWN, STEFANIE COSSALTER-DALLMANN, BENJAMIN COUILLEAUX, HEIKO DAMM, RITA DELHÉES, JILL DUNKERTON, BASTIAN ECLERCY, MARTINA FLEISCHER, IRIS HASLER, FREDERICK ILCHMAN, ROLAND KRISCHEL, ANN KATHRIN KUBITZ, ADELA KUTSCHKE, SOFIA MAGNAGUAGNO, TOM NICHOLS, TOBIAS BENJAMIN NICKEL, SUSANNE POLLACK, VOLKER REINHARDT, JULIA SAVIELLO, FRANCESCA DEL TORRE SCHEUCH, CATHERINE WHISTLER AND MATTHIAS WIVEL PRESTEL MUNICH · LONDON · NEW YORK 2 CONTENTS GREETINGS POESIA AND MYTH p. 8 Painting as Poetry p. 108 FOREWORD Philipp Demandt BELLE DONNE p. 10 Idealised Images of Beautiful Women p. 126 Essays GENTILUOMINI Portraits of Noblemen VENETIAN PAINTING IN THE AGE OF TITIAN p. 150 Hans Aurenhammer p. 16 COLORITO ALLA VENEZIANA Colour, Coloration and the Trade in Pigments PAINTING TECHNIQUES IN SIXTEENTH-CENTURY VENICE p. 184 Jill Dunkerton p. 28 FLORENCE IN VENICE The Male Nude VENICE IN THE RENAISSANCE. p. 204 A SOCIAL AND POLITICAL PROFILE Volker Reinhardt EPILOGUE p. 38 The Impact of the Venetian Renaissance in Europe from El Greco to Thomas Struth p. 228 Catalogue Maria Aresin, Hans Aurenhammer, Andrea Bayer, Anne Bloemacher, Daniela Bohde, Appendix Beverly Louise Brown, Stefanie Cossalter-Dallmann, Benjamin Couilleaux, Heiko Damm, Rita Delhées, Bastian Eclercy, Martina Fleischer, Iris Hasler, Frederick Ilchman, BIBLIOGRAPHY Roland Krischel, Ann Kathrin Kubitz, Adela Kutschke, Sofia Magnaguagno, Tom Nichols, p. 256 Tobias Benjamin Nickel, Susanne Pollack, Julia Saviello, Francesca Del Torre Scheuch, Catherine Whistler and Matthias Wivel COLOPHON p. 270 SACRA CONVERSAZIONE The Madonna and Saints in Conversation PHOTOGRAPHIC CREDITS p. 48 p. 272 NYMPHS IN ARCADIA – SAINTS IN THE WILDERNESS The Invention of Landscape p. 72 CONTENTS GREETINGS POESIA AND MYTH p. 8 Painting as Poetry p. 108 FOREWORD Philipp Demandt BELLE DONNE p. 10 Idealised Images of Beautiful Women p. 126 Essays GENTILUOMINI Portraits of Noblemen VENETIAN PAINTING IN THE AGE OF TITIAN p. 150 Hans Aurenhammer p. 16 COLORITO ALLA VENEZIANA Colour, Coloration and the Trade in Pigments PAINTING TECHNIQUES IN SIXTEENTH-CENTURY VENICE p. 184 Jill Dunkerton p. 28 FLORENCE IN VENICE The Male Nude VENICE IN THE RENAISSANCE. p. 204 A SOCIAL AND POLITICAL PROFILE Volker Reinhardt EPILOGUE p. 38 The Impact of the Venetian Renaissance in Europe from El Greco to Thomas Struth p. 228 Catalogue Maria Aresin, Hans Aurenhammer, Andrea Bayer, Anne Bloemacher, Daniela Bohde, Appendix Beverly Louise Brown, Stefanie Cossalter-Dallmann, Benjamin Couilleaux, Heiko Damm, Rita Delhées, Bastian Eclercy, Martina Fleischer, Iris Hasler, Frederick Ilchman, BIBLIOGRAPHY Roland Krischel, Ann Kathrin Kubitz, Adela Kutschke, Sofia Magnaguagno, Tom Nichols, p. 256 Tobias Benjamin Nickel, Susanne Pollack, Julia Saviello, Francesca Del Torre Scheuch, Catherine Whistler and Matthias Wivel COLOPHON p. 270 SACRA CONVERSAZIONE The Madonna and Saints in Conversation PHOTOGRAPHIC CREDITS p. 48 p. 272 NYMPHS IN ARCADIA – SAINTS IN THE WILDERNESS The Invention of Landscape p. 72 VENETIAN PAINTING IN THE AGE OF TITIAN HANS AURENHAMMER TWO ALTARPIECES TWO EPOCHS TITIAN AND GIOVANNI BELLINI Lodovico Dolce opens his dialogue L’Aretino cat no the most important theoretical text on painting written in the Venetian Renaissance by staging a ‘contest’ between two altarpieces The point of this exercise was to show the extent to which Titian the leading painter of the sixteenth century had surpassed the art of preceding generations The setting is the nave of the large Dominican church of Santi Giovanni e Paolo in Venice Over the first side altar on the right was a sacra conversazione by Giovanni Bellini c This work is the earliest example of the altarpiece schema that would remain stand ard until the beginning of the cinquecento and would be further devel oped by the painter himself later on in the Pala di San Giobbe c fig and his painting in San Zaccaria Diagonally opposite over the second side altar on the left churchgoers could admire an innovative painting by Bellini’s pupil Titian the highly dramatic Death of St Peter Martyr see cat nos Pietro Aretino was a friend of Titian’s well known as a man of letters and notorious for his sharptongued invectives In the Dialogue on Painting published a year after his death and named after him he takes on the role of spokesman and discourses with the Tuscan Giovan Francesco Fabrini who portrayed as somewhat narrow in his judgement of art is evidently fascinated with Bellini’s painting By the standards of his own time Aretino points out that Bellini had undoubt edly been “a good and careful master” Titian however had left him far behind in the “heroic majesty” of his figures a quality attributed to the epic poems of Homer Virgil and Ariosto and his “soft colour ing” As the dialogue continues Aretino faults Giovanni Bellini his brother Gentile and the members of the Vivarini family for their “dead and cold creations” Titian’s paintings by contrast were suffused with the warmth movement and pulsating vitality of nature herself Dolce’s dialogue thus draws a clear line between Titian and the Venetian paint ers of the fifteenth century Just a few years earlier in the first edition of his Lives Giorgio Vasari had contrasted the maniera mod erna of contemporary artists with the art of the quattrocento citing very similar categories if with a more idealistic conception of mimesis Fig Giovanni Bellini Pala di San Giobbe c Venice Gallerie dell’Accademia VENETIAN PAINTING IN THE AGE OF TITIAN HANS AURENHAMMER TWO ALTARPIECES TWO EPOCHS TITIAN AND GIOVANNI BELLINI Lodovico Dolce opens his dialogue L’Aretino cat no the most important theoretical text on painting written in the Venetian Renaissance by staging a ‘contest’ between two altarpieces The point of this exercise was to show the extent to which Titian the leading painter of the sixteenth century had surpassed the art of preceding generations The setting is the nave of the large Dominican church of Santi Giovanni e Paolo in Venice Over the first side altar on the right was a sacra conversazione by Giovanni Bellini c This work is the earliest example of the altarpiece schema that would remain stand ard until the beginning of the cinquecento and would be further devel oped by the painter himself later on in the Pala di San Giobbe c fig and his painting in San Zaccaria Diagonally opposite over the second side altar on the left churchgoers could admire an innovative painting by Bellini’s pupil Titian the highly dramatic Death of St Peter Martyr see cat nos Pietro Aretino was a friend of Titian’s well known as a man of letters and notorious for his sharptongued invectives In the Dialogue on Painting published a year after his death and named after him he takes on the role of spokesman and discourses with the Tuscan Giovan Francesco Fabrini who portrayed as somewhat narrow in his judgement of art is evidently fascinated with Bellini’s painting By the standards of his own time Aretino points out that Bellini had undoubt edly been “a good and careful master” Titian however had left him far behind in the “heroic majesty” of his figures a quality attributed to the epic poems of Homer Virgil and Ariosto and his “soft colour ing” As the dialogue continues Aretino faults Giovanni Bellini his brother Gentile and the members of the Vivarini family for their “dead and cold creations” Titian’s paintings by contrast were suffused with the warmth movement and pulsating vitality of nature herself Dolce’s dialogue thus draws a clear line between Titian and the Venetian paint ers of the fifteenth century Just a few years earlier in the first edition of his Lives Giorgio Vasari had contrasted the maniera mod erna of contemporary artists with the art of the quattrocento citing very similar categories if with a more idealistic conception of mimesis Fig Giovanni Bellini Pala di San Giobbe c Venice Gallerie dell’Accademia TITIAN Pieve di Cadore c / Venice Madonna and Child St Catherine and a Shepherd Madonna of the Rabbit c Oil on canvas cm Paris Musée du Louvre Département des Peintures inv no ­ BIBLIOGRAPHY ª Beguin ¢§ exh cat Venice/Washington ¢¢/¢ pp¢ cat no Jean Habert§ exh cat Paris ¢¢ ppf cat no Jean Habert§ with previous lit§ exh cat Venice ¢¢¢ pp£f cat no£ Bert W Meijer§ Zeitz pp£§ Pedrocco p£ cat no § exh cat London ppf cat no David Jaffé§ exh cat Brescia £/ pp¢ MarieAnne DupuyVachey§ exh cat Bordeaux/Caen / ppf cat no ¢ Mickaël Szanto§ Humfrey p cat no § exh cat Boston ¢ ppf John Marciari§ Partridge pp¢f§ exh cat Madrid pp¢f cat no £ Titian’s famous Madonna of the Rabbit can be traced back to the As the Xray image reveals the artist altered his composition dur patron who commissioned it making for a provenance that is
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