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.

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Presentation transcript:

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, , 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, , oil on canvas, 5’9”X6’3”

Titian: Madonna of the Pesaro Family, , 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, , 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, , 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, , 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, , 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,