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    High Renaissance in Venice

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    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. (2017, Sep 05). Retrieved from https://artscolumbia.org/high-renaissance-in-venice-14158/

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