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Venetian Art
Venice vs Florence
• Venice is bathed in mist/Florence is dry• Venice focused on light and sensuality
(colorito)/Florence focused on line and form (desegno)
• Venetian = first to adopt the use of oil• Venetian=poetry of nature and the senses/
Florence =more intellectual• Venetians developed poesia(painting to evoke
feelings similar to poetry)
Venetian artists
• Bellini-abandoned fresco and tempera for oil. • Giorgione-ambiguous meanings• Titian-
Bellini: San Zaccaria Altarpiece, 1505, oil on wood 16.5’X7’9”
Giorgione or Titian: Pastoral Symphony, 1508-1510, oil on canvas,
3’7”X4’6”, Louvre
Titian: Feast of the Gods, oil on canvas Ducale Palazzo, Ferrara, Italy, 1529
Titian: Bacchus and Ariadne,Ducal Palace, Ferrara, Italy, 1522-1523, oil
on canvas, 5’9”X6’3”
Titian: Madonna of the Pesaro Family, 1519-1526, 15’11”X8’10”Santa Maria dei Frari, Venice
Titian: Venus of Urbino,1538, oil on canvas, 3’11”X5’5”, Uffizi Gallery, Florence
Titian: Isabella d’Este, 1534-1536, oil on canvas, 3’4”X1’2”
Mannerism
• Characterized by style, being stylish, cultured or elegant achieved through:
• Renaissance artists obscured artifice(not natural) with techniques
• assymmetrical• Unusual light sources• Figura serpentinata• Elongated figures
Pontormo: Entombment of Christ, Capponi Chapel, Santa Felicita, Florence, 1525-1528, oil on wood,
10’3”X6’4”
• Played to familiar theme• Omitted the cross and tomb• Rotated on a vertical axis• Void middle to accentuate
loss• Anxious expressions• Distortions of figures• Contrasting pastels
Parmiagiano: Madonna with the Long Neck, Parma, Italy, 1534-1540, oil on wood, 7’1”X4’4”
• Elegance• Irrational depth
Bronzino: Venus, Cupid, Folly and Time, 1546, oil on wood, 5’1”X4’8”
• Allegory with playful undertones
• Envy in the background• Masks=deceit• “Love accompanied by envy
and inconstancy is foolish and lovers discover folly in time”
• Head, feet and hands are the carriers of grace
Bronzino: Portrait of a Young Man, 1530-1545, oil on wood, Metropolitan Museum of Art, NYC
• Elegant, a man of intellect• Establishes rank not
personality• Muted background
accentuates the young man
Sofonisba Anguissola: Portrait of Sisters and Brother, 1555,Oil on panel
• Informal portraits• Group relaxed• 1559 became the court
painter for Philip II of Spain
Tintoretto: Last Supper, 1594, 12’X8’, oil on canvas, San Giorgio Maggiore, Venice
Veronese: Christ in the House of Levi (Last Supper)1573, San Giovanni, Venice, oil on canvas,
18’3”X42’
Correggio: Assumption of the Virgin, fresco, Parma Cathedral, 1520-1524