High renaissance in venice

High Renaissance in Venice
Bellini, San Zaccaria Altarpiece
Sacra conversazione
Vaporous sfumato, harmonious unification of modeling and shading (i.e. Saint Jerome’s beard)
Overall tonality
Linear perspective
Serene color, gently glowing forms
Dominating architecture that cradles the figures in a unified scene
Virgin and Child surrounded by a symmetrical grouping of saints
Light enters from the left
Architecture of the church reflected in the painting; painting becomes an extension of the real space of the building it is housed in

Giorgione, Tempest
Poesia
Dream-like, lyrical state
Deserted town with a soldier and a breast feeding woman
Bushes are shaggy, unkempt; mysterious pastoral setting
Columns–indicating fortitude–are ruined, bridge tottering
Lightning makes the scene menacing
Building incomplete with a half-completed arch
Uncertain meaning

Giorgione, (Titian?), Pastoral Symphony
Soft forms of figures; no clear cut edges
Mysterious theme, unknown meaning
Shepherds are poets who are inspired by the nymphs who are muses
Shepherds were thought to have beautiful singing voices
Nymph dips pitcher into the well of inspiration
Chiaroscuro and nuanced use of shadowing
Rounded masses and volumes of women

Titian, Venus of Urbino
Sensuous delight in female form
May not have been a Venus, but a painting of a nude
May have been painted for the Duke of Urbino to celebrate his union with his young wife
Looks at us directly
Dog (fidelity) curled asleep, does not sense that the onlooker is unwelcome
Two servants search for something in cassoni (marriage chests), always made in pairs and intended for the storage of a wife’s trousseau
Rose (in her hands) and myrtle (on the windowsill) are bridal attributes
She welcomes the viewer

Titian, Madonna of the Pesaro Family
Battle of Santa Maura, 1502, won by Jacopo Pesaro, who kneels at left
Right: five males of patron’s family presented by Saint Francis of Assisi
Diagonals and triangles establish a complex asymmetrical spatial relationship
Virgin at the head of a right triangle
Multiple oil glazes to increase richness
Turk bowing on the extreme left
Saint Peter in the center, although not central to the composition
Very unusual arrangement not to have Madonna and Child in the center, cf. The Last Supper, San Zaccaria Altarpiece
Painterly effect in descriptive passages in the painting (i.e. glistening armor of Saint George)
One figure looks out at us, brings us directly into the composition, as is typical in High Renaissance art
Columns not part of the original composition: added later
Light comes from above left, from “on high”

Veronese, Christ in the House of Levi
Hard to notice Christ and Mary, lost in the shuffle
Architecture sets the scene, dominates the action
Rich costumes, tables magnificently set, stage-like quality
After the dinner: no one is eating any more
Chaotic diffuse composition
Christ turns water into wine for the groom of the wedding who has run out
Not many people are interested in the miracle that has taken place
Came into trouble with the Inquisition for the lack of spirituality in the painting: dwarves, jesters and German soldiers abound–daring artistic license

The expressive hedonism so alien to the religious context - the subject in fact appears to be a purely pagan one in exaltation of love of life in 16th century Venice - aroused the suspicions of the Inquisition. On July 18th 1573 Veronese was summoned by the Holy Office to appear before the Inquisition accused of heresy. If the questions of the inquisitors show the first signs of the rigours of the Counter-reformation, Veronese's answers show clearly his unfailing faith in the creative imagination and artistic freedom. Not wishing to yield to the injunction of the Inquisition to eliminate the details which offended the religious theme of the Last Supper, he changed the title to "Feast in the House of Levi", a subject which tolerated the presence of fools and armed men dressed up "alla tedesca".

Titian, Isabella d’Este
She was 60 when this was painted, but wanted to look 20
Titian used another painting of Isabella at 20 as a guide
Self-assured, sophisticated
Garment fades into the background
Light highlights face, fur and hands; variety of textures
Famously demanding female patron

Titian, Assumption
High altar of Santa Maria Gloriosa dei Frari
Glow of color, Titian one of the great colorists in art history
Daring arrangement of figures in space, very naturally grouped
Solid figures wave their hands passionately
Natural curves and sways in the composition
Youthful Virgin initially thought to be improper because of her sumptuous beauty
Enormous size of figures, towering verticality
Light makes for a complex spatial arrangement

Mannerism in Venice
Tintoretto, Last Supper
May be a reaction against the Veronese
Deep perspective leads your eye back into the painting to nothing in particular; dynamic diagonal
Muddy atmosphere with lamps burning fitfully
Lamps reveal angels swooping down from the sky
Only light sources: swinging oil lamps and Christ’s (and apostle’s) incandescent halos
Christ gives the Eucharist to Saint Peter
Judas on opposite side of table, without glow of halo
Long table divides earthly food from spiritual food
Hectic scene in a dining hall
Dogs, cats, servants and miscellaneous figures
Very busy composition

Palladian Architecture
Palladio, Villa Rotonda, Vicenza
Pleasure pavilion set in a pastoral setting
Perfectly symmetrical interior and exterior
Greek pediment, Roman dome, Ionic columns, Roman statues
All Palladian villas are built of brick and faced with stucco
Air of discreet opulence
Four identical colonnaded porches with a wide flight of steps
Villa faces four horizons simultaneously
Villa as temple
Centrally planned buildings considered perfect
Dome originally unglazed as in the Pantheon
No matter how you view the building it seems complete

Palladian Architecture
Palladio, Villa Rotonda, Vicenza (continued)
Pediments over doorways and windows
Building was meant to be lived in “artistically:” central hall functioned to hold learned discussions, hear music, etc.
Villa’s relationship to the setting may suggest a limitless vista; the porches that face the horizon at the same time lead to the depths within; the spatial settings that emphasize one’s view of the world also add dimension to the view of someone from within
The intimacy of the interior culminates in the great central hall

Palladio, San Giorgio Maggiore, Venice
Clearly lit High Renaissance interior
Side aisles indicated on the façade
Mannerist: two temple façades intersect, creating an interplay of light and shadow
Columns with arches containing sculpture
Columns set on huge pedestals overwhelming the spectator
Dramatic setting in the Venetian lagoon

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High renaissance in venice

by bassmanb on Jan 25, 2012

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High renaissance in venice — Presentation Transcript