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Venetian Art

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

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Venetian Art

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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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