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High Renaissance in Venice

Giorgione, The Tempest; 1505
Giorgione, The Tempest; 1505
-pushes boundaries with subject matter: mysterious, elusive
-“H” shape composition: no renaissance triangle here
-organic forms, softness followed by hard geometry pattern
-muted colorito
Giorgione, Pastoral Concert; 1509
Giorgione, Pastoral Concert; 1509
-muted tonal, colorito
-tweaked renaissance pyramid (lady on left ruins it)
-sexy: music suggests sex, she’s holding a phallic flute
Titian, Assumption of the Virgin; 1517
Titian, Assumption of the Virgin; 1517
-altarpiece, puts titian on the map
-3 tiers interlock, connect
-red makes a stable triangle
-raphael’s sistine madonna turned up (more dynamic and dramatic)
Titian, Madonna of the Pesaro Family; 1526
Titian, Madonna of the Pesaro Family; 1526
-“X” shape: madonna and child emphasize the diagonal
-columns suggest continuation of space: VIEWER COMPLETES THE PAINTING. titian is the link to the baroque period in this way.
Titian, Man with a Glove; 1520
Titian, Man with a Glove; 1520
-emerging from the dark a la leonardo
Titian, Bacchanal; 1518
Titian, Bacchanal; 1518
-bacchanal= drunken orgy
-this is NOT chaos: they exist as individuals and as a group, a la raphael’s “School of Athens”
-no moral! orgy for your right to orgy
-dancing is a stand-in for sex
Titian, Bacchus and Ariadne; 1518
Titian, Bacchus and Ariadne; 1518
-composition divided diagonally, mixes motion and stability
Titian, Venus of Urbino; 1538
Titian, Venus of Urbino; 1538
-introduces the rise in erotic art
-all about potential: what is about to go down
-very balanced
Correggio, Assumption of the Virgin; 1530
Correggio, Assumption of the Virgin; 1530
-3D, vs. 2D sistine chapel ceiling
-complex depiction of swirling figures
Correggio, Jupiter and Io; 1532
Correggio, Jupiter and Io; 1532
-what makes this erotic is her reaction: her tension, fondling cloud, not protesting
Veronese, Feast in the House of Levi; 1573
Veronese, Feast in the House of Levi; 1573
-originally “the last supper”, but wasn’t accurate according to the catholic church’s new rules for art since the council of trent in 1563
Titian, Doge Andrea Gritti; 1544
Titian, Doge Andrea Gritti; 1544
-titian takes a turn: opens up brush strokes
Titian, Self Portrait; 1567
Titian, Self Portrait; 1567
-almost impressionistic
Titian, Pieta; 1576
Titian, Pieta; 1576
-so dark, follows old age -> 🙁
Tintoretto, Self Portrait; 1550
Tintoretto, Self Portrait; 1550
-he’s mysterious, coming out of darkness
Tintoretto, Self Portrait; 1588
Tintoretto, Self Portrait; 1588
-gravitas
Tintoretto, Miracle of St. Mark Freeing a Slave; 1548
Tintoretto, Miracle of St. Mark Freeing a Slave; 1548
-really weird, mannerist, dramatic
-subtle renaissance triangles with diagonal slashes
Tintoretto, Last Supper; 1594
Tintoretto, Last Supper; 1594
-church loved this because it appealed to your emotions

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High Renaissance in Venice
Artscolumbia
Artscolumbia
Giorgione, The Tempest; 1505
Giorgione, The Tempest; 1505
-pushes boundaries with subject matter: mysterious, elusive -"H" shape composition: no renaissance triangle here -organic forms, softness followed
2017-09-06 05:33:17
High Renaissance in Venice
$ 13.900 2018-12-31
artscolumbia.org
In stock
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