1. Venetian Renaissance Group 7
Hi, we are group 7, and I am a presentor Kim Jinwoo.
We are going to talk about Venetian Renaissasnce, which has its own originality compared to Central Italy and Northern Renaissance.

2. Backgrounds Comparison Venetian Artists Portraits Table of Contents
Giovanni
Giorgione
Titian
Portraits
After explaining some backgrounds of Venice, We will compare Venetian renaissance and that of Florence briefly. Then we will see some Venetian artists.

3. Historical Backgrounds
From 10th century, Venice had eliminated pirates of the Adrian sea and obtained the right for free-trading in Byzantine empire. Byzantium discharged the custom duty(관세 폐지) for Venetian merchants and it allowed the Venetian to earn enormous money by almost monopoly(독점적으로) trading spices, pigments, and silks. This map figures the territory of the Venice in the mid 15th century. The yellow lines were main trade route. Naturally, Venice became the entrance of Asian products such as pigments to Europe, and vice versa.

4. Influences from Canvas Geometrical aspect Cultural Backgrounds
Byzantium
Central Italy
Northern Europe
Canvas
Geometrical aspect
Climate → Oil, Color
Money & Pigments
Patrons : Mainly nobles (not the Pope)
So they could be influenced by many cultures. Byzantium, they were friend of Venice for long time. Icon-like motif is evident in the early Venetian Renaissance and the colors were largily affected by them : for example, you can see red and blue cloths of Virgin Mary. Venetian also accepted the techniques of Florence, such as chiaroscuro. From Northern europe, they accepted oil painting partly because of their humid climate.
As Venice had high shipbuilding skills, they began to use canvas, an ideal material for oil drawing to express delicate tone.
Some says that Venetian color is affected by their climate. They might be influenced by the sunlight through foggy atmosphere. They already had sufficient money and pigments to express such delicate colors, especially from Asia, such as Ultramarine and Red lake. Moreover, their main patrons were mainly merchantly trained nobles, not the Pope, partly because of long distance from Rome. It made the artists to be susceptible to colors. (Non-narrative얘기는 뒤로 뺌)

5. Venetian vs Central Italian
Comparison
Venetian vs Central Italian
Venetian
Central Italy
Color
Pastoral, poetic
Non-narrative
(Private use)
Line, Form,
Design
Intellectual
Let's briefly compare Venetian and Central Italy Renaissance. While Central Italy focused on line, form, and design, Venetian regarded the color as important one. Central Italian paintings were intellectual, for example, in the composition or perspective. Venetian arts, are rather pastoral, poetic. The figures in the picture are in conversation, and some paintings are non-narrative, especially in the case of private use.

6. Representative Artists
Venetian High Renaissance
Representative Artists
They are representative artists in the Venetian Renaissance. Bellini, is the one who established the foundations of Venetian High Renaissance. Giorgione and Titian are his disciples. Especially, the techniques and use of color of Titian gave strong influences to many painters, such as Rubens.
Giovanni Bellini ( )
Giorgione da Castelfranco ( )
Titian (Tiziano Vecelli, )

7. Pastoral Symphony, ca. 1508-1510 Giorgione (and/or Titian)
Now, let's see the pictures. Beside of the color, what is pastoral?
This is 'pastoral'. The subject is not clear, but it seems to the allegory of poetry. Two men, are paying no attention to two nude woman : The women are may be allegory of something. The landscape has no clear-cut and fading into shadow. The composition is so dynamic. The painter used vibrant color, deep chiaroscuro, and at the same time soft modeling of figure using shadow..

8. Feast of the Gods, 1529 Giovanni Bellini and Titian
This is another pastoral scene. It was commissioned by Alfonso d'este, a major patron. Again, it is hard to say the narrative. The landscape is so rural, rustic place giving pastoral mood. However, compared to Giorgione, who used shadow effectively, this one is very rich in color.

9. San Zaccaria Altarpiece, 1505
Giovanni Bellini
San Zaccaria Altarpiece, 1505
(San Zaccaria Altarpiece를 앞으로 당겼습니다. Titiano의 두 작품 모두 clue 가 color인데 이 작품을 두고 두 개로 분리되어 있었기 때문에...)
The handling of color and light is the most important feature of Venetian Renaissance. Actually, while artists in Florence decided the form and the line first and then decided the color, Venetian artists considered the colors as major and basic constituent.

10. San Zaccaria Altarpiece, 1505
Giovanni Bellini
San Zaccaria Altarpiece, 1505
In this painting, Madonna is sitting on the back. St. Catherine with broken wheel, St. Lucy with a tray are on the side of her. St. Peter and St. Jerom are holding book.
Though the outline is dissolved in the light and shadow, the figures stand out by their brillent-colored clothes.
Madonna is in the center, but because she is in the backside, she seems to be small compared to others. However, .

11. San Zaccaria Altarpiece, 1505
Giovanni Bellini
San Zaccaria Altarpiece, 1505
If we remove the hue, H-U-E, Only Mary and Jesus are strongly accentuated. The hierarchy is represented by color, and the use of light.

12. San Zaccaria Altarpiece, 1505
Giovanni Bellini
San Zaccaria Altarpiece, 1505
Madonna with Jesus. It seems so icon-like. We can compare with the Cimabue's work, which had Byzantine tradition yet. The red and blue garmont of Virgin Mary. Icon-like subject. Moreover, the architecture also describes th Byzantian mosaic, with blue, gold, and green color.

13. Madonna Enthroned with Saints, 1488
Giovanni Bellini
Madonna Enthroned with Saints, 1488
More earlier works shows the Byzantine tradition evidently. In this work, icon-like motif is placed in the architecture similar to Byzantine cathedral. We can see dome, rectangular shape, and golden mosaics.

14. Madonna of the Pesaro Family, 1519-1526
Titian
Madonna of the Pesaro Family,
The hallmark of the use of color in Venetian Renaissance is Titian. This work is comissioned by Jacopo Pesaro, the bishop of Paphos, celebrating his victory against Turks. It shows hierarchical perspective, showing Madonna on the top of triangle. Of course, the color and lignt also plays the important rule for the perspective.

15. Madonna of the Pesaro Family, 1519-1526
Titian
Madonna of the Pesaro Family,
Again, Virgin Mary and jesus is strongly figured out when we removed the hue.

16. Madonna of the Pesaro Family, 1519-1526
Titian
Madonna of the Pesaro Family,
Virgin Mary is blessing Pesaro, who is kneeling on her bottom. You know, he is a patron. But he is participating in the scene with the saints. On the right side, St. Francis(갈색 옷과 밧줄 허리띠), is introducing the family members of Pesaro.
His impudence(건방짐) don't stop. The banner of Pesaro and Pope, is hightened and hlghlited as much as Madonna. Actually, because of distorted triangular composition, which was radical at that time, it was easy to lose balance. The balance is accomplished by the red flag with banners of Pesaro's and Pope.
It was mostly because the parton was rich nobel. Religuious, but at the same time, secular subject appears.

17. Assumption of Virgin, 1516-1518 Titian
Another masterpiece of Titian is Assumption of Virgin. It was commissioned by the prior(수도원장) of Santa Maria Gloriosa dei Frari as altarpiece. Red, gold, green, and blue colors are dominated. Golden light naturally makes halo (Contrast to Last Supper, which made the halo with architecture). The composition is mainly made by the colors.
First, three vivid red garments forms long triangle to locate our eyes upward. By raised arms, our attention is focused on the Mary, and then we can notice the second triangle, formed by God the Father, Mary, and puddies with mainly by bright color. Again, by the raised hands. two pyramids are naturally connected.

18. Titian
Venus of Urbino, 1538
Though the patron of Assumption of Virgin was prior of the church, many works were commissioned by rich nobles. It was commissioned by Guidobaldo II, the duke of Camerino, for private use. The title is Venus, but the figure is just a nude woman. There is no narrative, but the emotion from entire work itself is more important.

19. Equestrian Portrait of Charles V
Titian
Portraits
Titian also draw lots of portraits. Earlier portraits were very stylistic and formal. However, various pose, compositions were introduced by Titian and his portraits are considered as prototype even until todays.
Equestrian Portrait of Charles V
1548, oil on canvas
L'homme au gant
1525, oil on canvas

20. Color Light Pastoral Non-narrative Emotional Conclusion
Venetian Renaissance
Conclusion
Color
Light
Pastoral
Non-narrative
Emotional
Let's summarize our presentation. In conclusion, the use of Color and light is important. Pastoral mood can be obtained from their works. In some cases, especially for private patrons, non-narrative subject is often drawn. Finally, their works are focused on the emotion from the work itself, rather than the subjects.

21. Thank you
Q&A

22. Giovanni Bellini and Titian, Feast of the Gods, 1529
Appendix
Giovanni Bellini and Titian, Feast of the Gods, 1529

23. Appendix
Camerini d'alabastro

24. Appendix
Raphael, Philosophy,

25. Appendix
Raphael, Philosophy,

26. Ultramarine vs Azurite
Appendix
Ultramarine vs Azurite

27. Appendix
Giovanni Bellini, Agony in the Garden, 1465 Andrea Mantegna, Agony in the Garden, c. 1460