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Lecture

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Department
Art
Course
FAH230H1
Professor
Giancarla Periti
Semester
Fall

Description
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 r
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