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Contrasting Styles: Venetian vs. Florentine Art During the Renaissance

Explore the distinct characteristics of Venetian and Florentine art in the Renaissance period, from technique and focus to style and themes. Discover notable works by prominent artists such as Bellini, Titian, Parmigianino, and more.

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Contrasting Styles: Venetian vs. Florentine Art During the Renaissance

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  1. Venetian Art

  2. 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)

  3. Venetian artists • Bellini-abandoned fresco and tempera for oil. • Giorgione-ambiguous meanings • Titian-

  4. Bellini: San Zaccaria Altarpiece, 1505, oil on wood 16.5’X7’9”

  5. Giorgione or Titian: Pastoral Symphony, 1508-1510, oil on canvas, 3’7”X4’6”, Louvre

  6. Titian: Feast of the Gods, oil on canvas Ducale Palazzo, Ferrara, Italy, 1529

  7. Titian: Bacchus and Ariadne,Ducal Palace, Ferrara, Italy, 1522-1523, oil on canvas, 5’9”X6’3”

  8. Titian: Madonna of the Pesaro Family, 1519-1526, 15’11”X8’10”Santa Maria dei Frari, Venice

  9. Titian: Venus of Urbino,1538, oil on canvas, 3’11”X5’5”, Uffizi Gallery, Florence

  10. Titian: Isabella d’Este, 1534-1536, oil on canvas, 3’4”X1’2”

  11. 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

  12. 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

  13. Parmiagiano: Madonna with the Long Neck, Parma, Italy, 1534-1540, oil on wood, 7’1”X4’4” • Elegance • Irrational depth

  14. 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

  15. 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

  16. SofonisbaAnguissola: Portrait of Sisters and Brother, 1555,Oil on panel • Informal portraits • Group relaxed • 1559 became the court painter for Philip II of Spain

  17. Tintoretto: Last Supper, 1594, 12’X8’, oil on canvas, San Giorgio Maggiore, Venice

  18. Veronese: Christ in the House of Levi (Last Supper)1573, San Giovanni, Venice, oil on canvas, 18’3”X42’

  19. Correggio: Assumption of the Virgin, fresco, Parma Cathedral, 1520-1524

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