Bellini • Giorgione • Titian and the Renaissance of Venetian Painting

7/30/2019 Bellini Giorgione Titian and the Renaissance of Venetian Painting

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BELL GORGOE T T A

and the Renaissance o Venetian Painting

Gy A, WhJ 18 pb 17, 2006

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Sacred Images and Stories

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b h Lives o the Artists (1568) h G,

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Adoration o the Shepherds (fig. 2). By p h f , G

Venetian painters materials were

transormed in the early sixteenth

century, when canvas replaced wood

panel as the preerred support and theoil medium, introduced in Venice in the

1470s, largely displaced tempera. Using

egg yolk to bind pigments, tempera

dries to a semi-matte state, whereas

oil paint retains its translucency and

produces colors o greater richness

and depth. Venetian painters also

used pigments previously employed in

manuscript illumination orpiment and

realgar to produce the glowing orangeand yellow tones seen, or example, in

Josephs robe in Giorgiones Adoration

of the Shepherds(fig. 2). To add even

more brilliance and luminosity to their

paintings, artists sometimes mixed their

pigments with pulverized glass.

Artists MAteriAls


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h w y, h Virgin and Child with Saints Catherine

and Dominic (fig. 3). Uk B h, b h, T hy

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Pictures o omen

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Laura (fig. 4). Th b-b f by bh p

b, T Flora (cover). Th y,

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llegories a nd tologies

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In 1568 the artist and art historian

Giorgio Vasari wrote in his Lives of the

Artiststhat the Venetians did not make

preliminary drawings or their paintings.

The recent use o inrared reectog-

raphy to study Venetian paintings has

orced a revision o this view. Inrared

reectograms, which allow us to peer

beneath the paint surace, reveal that

Venetian painters oten drew directly on

the canvas instead o making numerousstudies on paper. The inrared images

show that Giorgione and Titian used

uid brushstrokes to indicate the place-

ment and shape o the fgures and their

settings (fig. A). Such drawings provided

only a guideline; x-rays o paintings,

called x-radiographs, expose underlying

paint layers which demonstrate that the

creative process continued in the course

o painting. Artists experimented with

dierent poses and compositions, add-

ing and eliminating details, such as the

exotic headdress in Giorgiones Three

Philosophers(fig. b), which was painted

out in the fnal composition.

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technicAl PhotogrAPhs


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Dk A E p F. B p h Feast o the Gods

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T p h Bacchanal o the Andrians (fig. 8). p by

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LT OF LLUTRATO

fig. 1 Gv B, Virgin with the BlessingChild, 1510, B, M (. 1)

fig. 2 G, Adoration o the Shepherds

(Allendale Nativity), . 1500, Gy A, Wh, . K (. 17)

fig. 3 T, Virgin and Child with SaintsCatherine o Alexandria and Dominic and aDonor, . 1513 1514, Fz M-R, (. 10)

fig. 4 G, Portrait o a Woman(Laura), 1506, Khh M,

G, V (. 38)

fig. 5 G, Three Philosophers, . 1506,Khh M, G,V (. 30)

fig. 6 T, Pastoral Concert (ConcertChamptre), . 1510, M Lv,Dp , (. 31)

fig. 7 Gv B T, Feast o the

Gods, 1514 1529, Gy A,Wh, W (. 32)

fig. 8 T, Bacchanal o the Andrians,1522 1524, M , M(. 33)

fig. 9 Vh, Portrait o a Poet, . 1520,Th Gy, L (. 52)

fig. 10 b b, Man in Armor,

. 1511/1512, Wwh Ah M A, , Th E Gp My F (. 51)

fig. 11 T, Man with a Glove, . 1523/1524,M Lv, Dp , (. 56)

fig. A h V T Virgin and Child (GypsyMadonna), . 1511,Khh M,

G, V (. 2)

fig. b X-ph h h h y G Three Philosophers

cover T, Flora, . 1520, G Ufz, F (. 42)

ROGRAM

concerts in honor of the eXhibition

y, 6:30 p, W B,W G wh h

Wh Ey M Fv

Ju 18

Gy V A EbR Lx, M R V hb h

Ju 25

Dw M, , Tp M

V h R y bq p

lectUres with live MUsic

Thy, J 29 A 3, 12:00 W B, L

Music and Art in Renaissance VeniceR , ph Ak, hph

sUnDAY lectUres

E B A, 2:00 p

Ju 18

The Renaissance o Venetian Painting:An Introduction to the ExhibitionDv A Bw, p, Gy AA bk w w.

Ju 25

The Renaissance Studiolo: Reading, Collecting,and the Invention o Mythological Paintingph pb, p, hy , ThJh pk UvyA bk w w.

spm 10

Double Lecture ProgramDbh w, h h Dp hy A, Uvy b;

J hz, A V. Rh y A Ah, E,Bw Uvy


12/12

PUblic sYMPosiUM

pb 16, 10:30 4:30 ppb 17, 1:004:30 pE B A

Reconsidering Venetian Renaissance Painting

by h VR p p whh z h xhb

sUMMer lectUre series

y, Jy 9 A 27, 2:00 pE B A

Five Hundred Years o Art in Venice:Achievement, Allure, and Infuence

Jy 9, Giovanni Bellinis Feast o the Gods inContext, R

Jy 16, Getting Your Feet Wet: An Introductionto Venice, E Dk

Jy 23, Gentile Bellini at the Court oMehmed II, hp L

Jy 30, Visions and Realities, Nineteenth-Century British Artists and the Lure o Venice,D Ak

A 6, The Lure o the Sun: Nineteenth-Century German Painters in Italy, hphWh

A 13, Monet and the Impressionists inVenice, E Dk

A 20, Venice in Film: Art, Love, and Deathin La Serenissima, Dv G

A 27, The Venice Biennale: The Grandest

o Spectacles, y hb

gUiDeD toUrs

Bellini, Giorgione, Titian, and the Renaissanceo Venetian Painting, R DvG, J 26, 27, 30 Jy 12, 14, 18, 20, 24,12:00 ; A 16, 23, 25, 29, 1:00 p

Grand-Tour View Paintings rom Rome, Venice,and Saxony, hp L, J 9, 11, 14, 16,

1:00 pVenetian Views: The Art o Canaletto, Bellotto,Guardi, Dv G, J 21, 25, 27, 29, 1:00 p

v q. 202.842.6247 p p(20 ).

filM ProgrAMs

Festival o Classic Italian CinemaTh ppy vw 35 p v f, wk by F, R, V. www.nga.gov h .

AUDio gUiDe

by Gy E A.w , wh Dv A Bw, p, Gy A;Dbh w, h h Dp hy A, Uvy b; y, p h h Ay, Uvy Aw.

: $5:00, h h xhb. Tv p, 202.842.6592.

on the web

http://www.nga.gov/exhibitions/renaissanceino.htm

cAtAlogUe

Bellini, Giorgione, Titian, and the Renaissanceo Venetian Painting, by Dv A

Bw yv F-. by h Gy A hKhh M, V, pbh wh Y Uvy. 352 p. v $45; hv $65.

generAl inforMAtion

: My y, 10:00 5:00 p;y, 11:00 6:00 p. Gy Wb: www.nga.gov. F b

by, v v, - p, h v,q h A Dk, h Wb , 202.842.6690 (tdd 202.842.6176).

A h Gy A p h, xp .

Th xhb w z by h Gy A, Wh, h K-

hh M, V.

pp by y h F h A h .

Bh pp by M. Ab,Dp Exhb , p by h bh Of.pyh 2006 B T, Gy A, Wh.

Documents

Bellini • Giorgione • Titian and the Renaissance of Venetian Painting