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Lecture

#L11 Renaissance Venetian Art.docx

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Department
Art
Course
FAH230H1
Professor
All Professors
Semester
Fall

Description
Renaissance Venetian Art, Venice in the sixteenth century: Giorgione, Titian, and the notion of colore (listen to the 2nd part of recording) • Venice was an important city in 16th c. Italy and a center of distinctive school of art • Main protagonist of Venetian Art-> Giorgione and Titian • Jacopo de Barbari, View of Venice, 1500, woodcut • The distinctiveness of the city of Venice is shown • A city founded in the 5th c. On islands • On salt water and main means of transportation is not cars but canals and boats • From the beginning of its foundation it had a strategic foundation and bases • The lagoon=natural defence • Boat- only way to get to Venice in the past • And arrived at the area around the Basilica of St. Mark • The view of Venice also shows us that in Venice space was always a problem because it was limited hence they had to expand upward not outward • Weather always humid and damp because of its geographical location • Frescoes were never used because the combination of damp winter and then dry summer could not keep frescoes in good shape nor form • Method of painting • Panel paiting or canvas panting • Oil painting as soon as it was developed in the Netherlands it was used in Venice • Giovanni bellini, san giobbe altarpiece, oil on panel • Venice was a very wealthy city because of its geographical area for trade • Main center for books production in Europe • Printing culture • Had great artistic protagonist of the Renaissance • Bellini • Had a very long life, so he was already well known and from a family of artists • This means-> network of patronage connection early one • Altarpiece • Remember it was to placed infront of an altar • The figures are placed around the mosaic art-> the illusion of the saints inside a church (venetian church) • Oil of panel technique • Figure of st. Francis • Showing his stigmata and he is inviting with his hand to the view to look at the painting • Altarpiece still in its original frame • Shows us how it functioned in the church • Total unity of the colours • The colours in a light that governs the entire altarpiece • Pala d'oro restored and embellished in 1345 by andrea dandolo for st. Mark's, • Example of old artistic altarpiece frame • Recreating the aps space around the protagonists • Antonello da Messina, Enthroned Madonna and Child with Saints for San cassiano, oil on panel • Compared with Bellini's painting • Madonna and child are on a high throne • The two altarpieces are in the same artistic technique- oil on panel • Venice had been the center of colour production • So foreign artists went their for colour pigments etc. • Similarity • The saint vs. The bishop • The mediator role in the painted space and the believers • The hand to say come join the painting and to pray infront of the altarpiece • GIorgione. Castelfranco, altarpeice, oil on panel • "... Giogione had seen certain works from the hand of Leonardo, which were painted with extraordinary softness, and thrown into powerful relief, as is said, by extreme darkness of the shadows, a manner which pleased so much that he ever after continued to imitate it..." -vasari, life of giorgione da castelfranco 1568 • Madonna on a high throne again • A very high throne • Towering really • See the impact of Leonardo and the young artist • Seen in the new interst in the landscape (leonardo's concept) and the soft manner we see Girogione develop (leonardo's concept) • The figure of St. Francis is taken reverse in girogione from berllini • So clearly studied berllini's altarpiece • The saints in the Berllini is in the foreground but Girogione but them in the distance-> there is a empy zone from the viewer/believers/foreground from the saints • Berlini's saints exist in teh church's apes but Girogione has them in a natural landscape • Both-> Madonna in the center • Giorgione, tempest, oil on canvas • A poesia=painted poem • A new genre of painting • Work of egnimatic and evocative subject • A work displayed in a private setting, probably in a room with other works of art that was meant for contemplation and recreation of the space by the owner • Called a tempest is because the background has a thundering and dark sky • A kind of change in the weather is going to happen • The subject is about • A speculation with art historian • What the message really is? Can have multiple interpretation • The woman-> short mantle only covering her shoulders and nothing else • Nursing a baby in a landscape • A standing male figure with a spear-> dressed as a German soldier • The man looks at her, but doesn't seem to be taken by her or what she does • Originally the male figure was a woman • Half coloumns-> sign of ruin • Background-> a city • Could be venice • Sudden shift of weather • Very egnimatic subject • Giogione and titian (?), sleeping venus, • Mythological subject • Intriguing venus • She is completely naked-> beautiful and sensual figure • She is asleep but she is touching herself in a sexualized area • But also sleeping in a natural landscape • Probably kept in a private space, for an elite and sophisticated circle • Originally a cupid accompanied with this venus (a normal) but later on the cupid was repainted • Her body's curves doubles with the landscape as hills • She redescribes with the landscapes • Probably the young titian helped • Giorgione, portrait of a Young Woman (Laura) • Only signed painting by Giorgione • A woman who is not looking at us but outside • Set against a loral-> a pun with loral and laura (beloved of petrarch) • Maybe painted in the contest of a wedding • Unusual for a potential bride to show up with an exposed breast and luxurious mantle (red texture and fur) • Contrast • Giorgione, Potrait of an Old woman • Deformed portait • Skin is no more • No teetch • Showing the ef
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