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. 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

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