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Text content of presentation slides: Venetian school of paintingGiovanni Bellini (Giovanni Bellini) (circa 1430–1516), the second son of Jacopo Bellini, is the greatest artist of the Venetian school, who laid the foundations for the art of the High Renaissance in Venice. Portrait of the Doge Leonardo Loredan] The portrait of the Doge Leonardo Loredan was officially commissioned by Bellini as an artist of the Republic of Venice. In this work, the doge is depicted almost frontally - contrary to the existing tradition of depicting the faces of those portrayed in profile, including on medals and coins. Altar of St. Job At the foot of the high throne, on which the Madonna and Child solemnly sits, blessing those who came to bow to her, there are musical angels (Saint Job was considered one of the patrons of music). The figures are life-size. Bellini placed two naked saints, Jobbe and Sebastian, on the flanks of the throne of Mary, next to them - the saints John the Baptist, Dominic and Louis of Toulouse. The architecture and decor of the apse, covered with gold smalt, are reminiscent of the Cathedral of San Marco. On a golden background, the words are clearly read: "Ave, pure flower of virgin chastity." Giorgione. Giorgione "Self-portrait" (1500-1510) Another representative of the Venetian school of painting; one of the greatest masters of the High Renaissance. His full name is Giorgio Barbarelli da Castelfranco, after the name of a small town near Venice. He was a student of Giovanni Bellini. He was the first Italian painter in religious, mythological and historical paintings to introduce a landscape, a beautiful and poetic Judith Judith, or Judith (Hebrew יהודית - Yehudit, the feminine version of the name Judah, “praise to Jehovah”) - a character in the Old Testament deuterocanonical “Book of Judith ”, a Jewish widow who saved her hometown from the Assyrian invasion. After the Assyrian troops besieged her hometown, she dressed up and went to the camp of the enemies, where she attracted the attention of the commander. When he got drunk and fell asleep, she cut off his head, and brought it to her native city, which thus turned out to be saved. Surprisingly chaste, despite her nakedness, "Sleeping Venus" is in the fullest sense an allegory, a symbolic image of Nature. Storm. The main character of this picture is a thunderstorm. The artist took the background to the brilliance of a lightning-like arrow, which, like a snake, flashed in the air. Immediately to the right and left, the foreground displays the female and male figures. The woman is feeding the child. She has almost no clothes on. The picture is full of variety. Wildlife makes itself felt everywhere http://opisanie-kartin.com/opisanie-kartiny-dzhordzhone-g TitianTitian "Self-Portrait" (circa 1567) Titian Vecellio is an Italian Renaissance painter. He painted pictures on biblical and mythological subjects, as well as portraits. Already at the age of 30, he was known as the best painter of Venice. Titian was born into the family of a statesman and military leader Gregorio Vecellio. The exact date of his birth is unknown. At the age of 10 or 12, Titian came to Venice, where he met representatives of the Venetian school and studied with them. The first works of Titian, performed jointly with Giorgione, were frescoes in the Fondaco dei Tedeschi, of which only fragments have survived. Love Earthly and Heavenly The plot of the picture still causes controversy among art historians. According to the 19th-century Viennese art historian Franz Wickhoff, the scene depicts the meeting of Venus and Medea, whom the goddess persuades to help Jason. According to another version, the plot was borrowed from Francesco Colonna's book Hypnerotomachia Poliphila, which was popular at the time. Against the backdrop of a sunset landscape, a richly dressed Venetian woman is sitting at the source, holding a mandolin with her left hand and naked Venus holding a bowl of fire. According to S. Zuffi, a dressed girl personifies love in marriage; marriage is indicated by the color of her dress (white), the belt, gloves on her hands, the myrtle wreath crowning her head, loose hair and roses. A pair of rabbits is depicted in the background - a wish for a large offspring. This is not a portrait of Laura Bagarotto, but an allegory of a happy marriage.// Bacchus and Ariadne Ariadne, abandoned by Theseus on the island of Naxos, came to console Bacchus. Titian depicts the moment of the first meeting of the heroes. Bacchus comes out of the thicket with his large retinue and rushes to Ariadne, who is frightened of him. In this compositionally complex scene, all the characters and their actions are explained by ancient texts. The retinue of Bacchus performs its rituals: one satyr demonstrates how snakes wrap around him, another swings a calf's leg, and a baby satyr drags an animal's head behind him. Penitent Mary MagdaleneTiziano Vecellio painted his work "Penitent Mary Magdalene" to order in the 60s of the 16th century. The model of the painting was Giulia Festina, who struck the artist with a shock of golden hair. The finished canvas greatly impressed the Duke of Gonzaga, and he decided to order a copy of it. Later, Titian, changing the background and posing of the woman, painted a couple more similar works. Saint Sebastian "Saint Sebastian" is one of the best works of the painter. Titian's Sebastian is a proud Christian martyr who, according to legend, was shot with a bow by order of Emperor Diocletian for refusing to worship pagan idols. Sebastian's powerful body is the embodiment of strength and defiance, his gaze expresses not physical torment, but a proud challenge to the tormentors. Titian achieved a unique effect of shimmering color not only with the help of a color palette, but also using the texture of paints, the relief of strokes “Behold the Man” This painting is considered Titian's masterpiece. It is written on the gospel story, but the artist skillfully transfers the gospel events to reality. Pilate stands on the steps of the stairs and, with the words “this is a man,” betrays Christ to be torn apart by the crowd, in which there are warriors and young men of a noble family, horsemen and even women with children. And only one person is aware of the horror of what is happening - the young man in the lower left corner of the picture. But he is nobody before those who have power over Christ at this moment...1543). Canvas, oil. 242x361 cm. Kunsthistorisches Museum, Vienna Tintoretto (1518/19-1594) Tintoretto "Self-portrait" His real name is Jacopo Robusti. He was a painter of the Venetian school of the late Renaissance. He was born in Venice and was nicknamed Tintoretto (little dyer) by the profession of his father, a former dyer (tintore). Early discovered the ability to paint. For some time he was a student of Titian. The distinctive qualities of his work were the lively drama of the composition, the boldness of the drawing, the peculiar picturesqueness in the distribution of light and shadows, the warmth and strength of colors. The Last Supper The painting was painted specifically for the Venetian church of San Giorgio Maggiore, where it remains to this day. The bold composition of the painting helped artfully depict earthly and divine details. The plot of the canvas is the gospel moment when Christ breaks bread and pronounces the words: "This is my body." The action takes place in a poor tavern, its space sinks into twilight and seems limitless thanks to a long table. Paolo Veronese aolo Veronese was born in 1528 in Verona. He was the fifth son in the family. He studied with his uncle, the Venetian painter Badile, and worked in Verona and Mantua. In 1553, Veronese was decorating the Doge's Palace. At the age of 27 he was called to Venice to decorate the sacristy of the Stasenko church. In 1560, Veronese visits Rome, where he paints Saint Veronica in the village of Maser near Vicenza. In 1566 he married the daughter of his teacher Antonio Badile. In 1573, Veronese was accused by the court of the Inquisition, but managed to justify himself and was forced only to correct and exclude some figures in one of his paintings Lamentation of Christ. He made the composition concise and simple, which increased the expressiveness of its three figures: the dead Christ, the Mother of God bent over him and an angel. Soft, muted colors are combined in a beautiful range of greenish, lilac-cherry, gray-white tones, softly shimmering in the lights and, as it were, fading into the shadows. In the first half of the 17th century, it was bought by the English king Charles I. Subsequently, the painting in the church was replaced with a copy of the work of Alessandro Varotari (Padovanino).
VENICE SCHOOL OF PAINTING
Teacher: Kaigorodova Natalya Evgenievna
What does "Venetian school" mean?
Venice was one of the leading centers of Italian culture. It is considered one of the main Italian schools of painting. The heyday of the Venetian school is attributed to the XV-XVI centuries. The "Pearl of the Adriatic" - a quaintly picturesque city with canals and marble palaces, spread over 119 islands in the waters of the Gulf of Venice - was the capital of a powerful trading republic. This became the basis for the prosperity and political influence of Venice, which included part of Northern Italy, the Adriatic coast of the Balkan Peninsula, overseas territories. It was one of the leading centers of Italian culture, printing, and humanistic education.
Artistic principles
Many Italian artists worked in Venice, united by common artistic principles.
These principles are: bright color schemes
mastering the plasticity of oil painting
the ability to see the life-affirming meaning of nature and life itself in its most wonderful manifestations.
The Venetians were characterized by a taste for everything unique, emotional richness of perception, admiration for the physical, material diversity of the world. At a time when fragmented Italy was torn apart by strife, Venice prospered and quietly floated on the smooth surface of the waters and living space, as if not noticing the whole complexity of being or not thinking about it especially, in contrast to the High Renaissance, whose creativity was fed by thoughts and complex searches.
Venice gave the world such wonderful masters as Giovanni Bellini and Carpaccio, Giorgione and Titian, Veronese and Tintoretto… Their work enriched European art with such significant artistic discoveries that later artists from Rubens and Velazquez to Surikov constantly turned to Venetian Renaissance painting.
Giovanni Bellini. "Sacred Allegory". Oil. 1490.
Venice is associated with the highest flowering for Italy of such purely secular genres as portrait, historical and mythological painting, landscape, rural scene .
Portrait of a young knight in a landscape. 1510. Madrid, Thyssen-Bornemisza Museum
Paolo Veronese
The most important discovery of the Venetians was the coloristic and pictorial principles developed by them. Among other Italian artists there were many excellent colorists, endowed with a sense of the beauty of color, the harmonious harmony of colors.
But the basis of the pictorial language was drawing and chiaroscuro, which clearly and completely modeled the form. Color was understood rather as the outer shell of the form, not without reason, applying colorful strokes, the artists fused them into a perfectly smooth, enamel surface. This style was also loved by Dutch artists, who were the first to master the technique of oil painting.
Jacopo Bellini
Features of Venetian painting took shape over a long, almost one and a half century, path of development. The founder of the Renaissance school of painting in Venice was Jacopo Bellini, the first of the Venetians who turned to the achievements of the most advanced Florentine school at that time, the study antiquity and the principles of linear perspective .
The main part of his heritage consists of two albums of drawings with the development of compositions for complex multi-figured scenes on religious themes. In these drawings, intended for the artist's studio, the characteristic features of the Venetian school are already showing through. They are imbued with the spirit of gossip, interest not only in the legendary event, but also in the real life environment.
Nativity
Gentile Bellini
The successor of Jacopo's work was his eldest son Gentile Bellini, the largest master of historical painting in Venice of the 15th century. On his monumental canvases, Venice appears before us in all the splendor of its bizarrely picturesque appearance, at the moments of festivities and solemn ceremonies, with crowded magnificent processions and a motley crowd of spectators crowding on narrow embankments of canals and humpbacked bridges.
Portrait of Sultan Mehmed II. (1480, oil on canvas).
The historical compositions of Gentile Bellini influenced the work of his younger brother Vittore Carpaccio, who created several cycles of monumental paintings for the Venetian brotherhoods - Scuol. The most remarkable of them is the History of St. Ursula" and "A Scene from the Life of Saints Jerome, George and Typhon".
Gentile Bellini- Procession in St. Mark's Square (Galleria dell...
Dream of St. Ursula. 1495.
Academy Gallery. Venice
Titian (1488/1490-1576)
Titian Vecellio is an Italian Renaissance painter. He painted pictures on biblical and mythological subjects, as well as portraits. Already at the age of 30 he was known as the best painter in Venice. Titian was born into the family of the statesman and military leader Gregorio Vecellio. The exact date of his birth is unknown.
Titian "Self-portrait" (circa 1567)
At the age of 10 or 12, Titian came to Venice, where he met representatives of the Venetian school and studied with them.
The style of Titian of that time is very similar to the style of Giorgione, he even finished painting for him, which remained unfinished (Giorgione died young from the plague raging in Venice at that time).
Famous paintings of that time: "Gypsy Madonna" (circa 1511), "Earthly Love and Heavenly Love" (1514), "Woman with a Mirror"
"Gypsy Madonna"
Titian's brush belongs to many female portraits and images of Madonnas. They are full of vitality, brightness of feelings and calm joy. The colors are clean and full of color.
Titian. "Portrait of Lavinia's daughter". Oil. Late 1550s.
Titian "Love earthly and heavenly." Oil on canvas, 118x279 cm. Boghese Gallery, Rome
This painting was commissioned by Niccolò Aurelio, secretary of the Council of Ten of the Venetian Republic, as his wedding gift to his bride. The modern name of the painting began to be used 200 years later, and before that it had various names. There is no consensus among art critics about the plot. Against the backdrop of a sunset landscape, a richly dressed Venetian woman is sitting at the source, holding a mandolin in her left hand, and a naked Venus holding a bowl of fire. Winged cupid plays with water. Everything in this picture is subject to the feeling of all-conquering love and beauty.
Titian's style developed gradually as he studied the works of the great Renaissance masters Raphael and Michelangelo. His portrait art reaches its peak: he was very perspicacious and knew how to see and portray the contradictory traits of people's characters: confidence, pride and dignity, combined with suspicion, hypocrisy and deceit. He knew how to find the right compositional solution, pose, facial expression, movement, gesture. He created many paintings on biblical subjects.
penitent Maria Magdalene .
Titian "Behold the Man" (1543). Canvas, oil. 242x361 cm Kunsthistorisches Museum, Vienna
This painting is considered Titian's masterpiece. It is written on the gospel story, but the artist skillfully transfers the gospel events to reality. Pilate stands on the steps of the stairs and, with the words “this is a man,” betrays Christ to be torn apart by the crowd, in which there are warriors and young men of a noble family, horsemen and even women with children. And only one person is aware of the horror of what is happening - the young man in the lower left corner of the picture. But he is nobody before those who have power over Christ at this moment...
In 1575, an epidemic of plague begins in Venice. Titian, infected by his son, dies on August 27, 1576. He was found dead on the floor with a brush in his hand.
The law required the bodies of those who died of the plague to be burned, but Titian was buried in the Venetian Cathedral of Santa Maria Gloriosa dei Frari.
On his grave are the words: "Here lies the great Titian Vecelli - rival of Zeus and Apelles"
Titian "Pieta" (1575-1576). Canvas, oil. 389x351 cm Academy Gallery, Venice
Giorgione da Castelfranco
Giorgione da Castelfranco lived a short life. He died at the age of thirty-three during one of the frequent plagues of that time. His legacy is small in scope: some paintings by Giorgione, which remained unfinished, were completed by a younger comrade and assistant in the workshop, Titian. However, the few paintings by Giorgione were to be a revelation to contemporaries. This is the first artist in Italy, whose secular themes decisively prevailed over the religious, determined the whole system of creativity. He created a new, deeply poetic image of the world, unusual for the Italian art of that time, with its inclination towards grandiose grandeur, monumentality, heroic intonations. In Giorgione's paintings, we see an idyllic, beautiful and simple world, full of thoughtful silence.
Giorgione (1476/1477-1510) Giorgione "Self-portrait" (1500-1510)
The art of Giorgione was a real revolution in Venetian painting, had a huge impact on contemporaries, including Titian
This image is not typical for a Renaissance portrait: the gaze of the model in the portraits of that era is usually directed directly, giving rise to a feeling of contact with the viewer. The young man looks to the side, this creates a special, melancholic atmosphere and interaction not on a rational, but on an emotional level. In this work, individual traits were successfully combined with the image of the ideal man of the Renaissance.
The soft outlines of the contours indicate that Giorgione was familiar with the sfumato technique developed by Leonardo da Vinci.
Examination of the painting in x-rays showed that initially the young man was looking at the landscape that serves as the background of the painting.
Portrait of a young man. OK. 1510
Judith
Adoration of the shepherds
The last, final period of the Venetian Renaissance is associated with the work of Veronese and Tintoretto.
P. Veronese. Paintings of the plafond of the hall of Olympus. Fresco. Around 1565
Venus and Adonis
Paolo Veronese was endowed with a heightened sense of beauty and a real love for life. On huge canvases, shining with precious colors, solved in an exquisite silvery tonality, against the backdrop of magnificent architecture, we see a colorful crowd striking with vital brightness - patricians and noble ladies in magnificent robes, soldiers and commoners, musicians, servants, dwarfs.
The picture was painted in 1562-1563. for the refectory of the monastery of San Giorgio Maggiore.
Jacopo Tintoretto
The last great master of Venice in the 16th century, Jacopo Tintoretto. A complex and rebellious nature, a seeker of new ways in art, who acutely and painfully felt the dramatic conflicts of modern reality. Tintoretto introduces a personal, and often subjective-arbitrary, beginning into its interpretation, subordinating human figures to some unknown forces that scatter and circle them. By accelerating the perspective contraction, he creates the illusion of a rapid run of space, choosing unusual points of view and intricately changing the outlines of the figures. Simple, everyday scenes are transformed by the invasion of surreal fantastic light. At the same time, the world retains its grandeur, full of echoes of great human dramas, clashes of passions and characters.
The greatest creative feat of Tintoretto was the creation of an extensive, consisting of more than twenty large wall panels and many plafond compositions, a painting cycle in Scuola di San Rocco, on which the artist worked for almost a quarter of a century - from 1564 to 1587.
According to the inexhaustible richness of artistic fantasy, according to the breadth of the world, accommodating both universal tragedy (“Golgotha”), and a miracle that transforms a poor shepherd’s hut (“The Nativity of Christ”), and the mysterious grandeur of nature (“Mary Magdalene in the Desert” ), and lofty feats of the human spirit (“Christ before Pilate”), this cycle is unparalleled in the art of Italy. Like a majestic and tragic symphony, it completes, together with other works of Tintoretto, the history of the Venetian Renaissance school of painting.
Homework.
Perform an analysis of a painting by Titian, Tintoretto or Veronese. (optionally)
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ranks among the most important
cultural centers of Europe. Giorgione
(1476-1510)
34 years
Giorgio
barbarelli yes
Castelfranco
ancestor
art
High
Renaissance. Giorgione reformed
Venetian school like that
how Leonardo da Vinci did it
Central Italy. In Venice he
acted as an innovator who did not have
predecessors. Unlike
15th century craftsmen who worked
mostly by order of the church,
paints exclusively on
mythological and literary
themes, portraits, introductions to painting
landscape and nude
body. Of all the means of expression available in
at the disposal of painting, he gave
color preference. In transmission
space, he relied not so much on
linear, how much for air
perspective, capturing subtle transitions
colors as they move away from the viewer's eyes, and
searched in the image of three-dimensional forms
color relationships between illuminated
and shaded areas.
Thanks to this, his paintings create
feeling of the air
enveloping and unifying all
objects, and in the image of a naked
body, he knows how to catch his trembling and
warmth. "Judith" 1504 -
the only
located in Russia
painting by Giorgione.
stored
in the State
Hermitage. Among the early paintings of the artist
refers to Judith. Unlike the masters
Florence Giorgione solves this subject not
heroically, but lyrically. IN
with his Judith, he embodied the ideal of pure and
beautiful woman. He portrayed her
at the moment of action, but when the feat
already accomplished and she stands immersed in
thoughtfulness based on
gleaming sword. For creating
mood artist subtly uses
emotional expressiveness of color.
warm tones of Judith's clothes and body
stands out against the blue sky and
cold green shades of grass and
severed head of Holofernes. "Sleeping Venus" 1510
painting by the Venetian artist Giorgione,
written by him shortly before his death. A chaste and beautiful image of the antique
goddess of love and beauty. The tenderness of the oval
face, striking purity and smoothness
lines, subtlety of color relationships,
built on the resistance of warm tones
body, bluish-gray shades of sheets,
dense wine-red color of the fabric
headboard contrasting with greenery
grass and trees - everything was new in this
picture, the first in a large series of similar
images in European art.
The painting was completed by Titian, who
completed the landscape, and also depicted at the feet
Venus of Cupid, who later disappeared
during the restoration of the painting. TITIAN 1477-1576
99 years old
Titian Vecellio
After death
Giorgione
leading
master
Venetian
schools
becomes
Titian. If Giorgione started art
High Renaissance in Venice, then
it reaches its peak in the work of Titian.
In many ways, he is
successor to Giorgione. Yes, in art
it was developed by Giorgione introduced
plots borrowed from literature and
mythology, as well as landscapes and portraits. How
and Giorgione, he painted a lot of naked body,
trying to convey his trepidation and warmth.
Yet the nature of Titian's art is different.
Peculiar to the works of Giorgione
a touch of romance and dreaminess is replaced
he has a more earthly, full-blooded
cheerful feeling. His compositions are richer and
more varied, in its mature
works sounds majestic
the pathos of the art of the High
Renaissance. In an even greater
degree than Giorgione, he does
color main organizer
beginning in the picture, and in mature
works comes to new
understanding of a form built not on
chiaroscuro, and on color
relationships. "Earthly Love and Heavenly Love" (1514)
This is the most famous and exquisite of
romantic scenes written by the young
Titian.
The plot of the canvas allows for many interpretations. On
the picture of two unusually similar to each other
women (one dressed and the other naked) sit on the edges
carved stone fountain. The background is calm
scenery. ONE VERSION: Coat of arms in the center of the fountain
(right above the pipe from which water flows)
belongs to a famous official
Niccolo Aurelio. The picture was painted for him
wedding with Laura Bagarotto. Woman
left, wearing a white dress
symbolizes the bride, and the nude
the heroine is the goddess of love Venus. Goddess
addresses Laura as if wishing
initiate her into the mysteries of love.
But whatever the plan of Titian, he
succeeded in creating
striking harmony of composition,
radiant warmth of color and
amazing contrasts. Bacchus and Ariadne 1520-1523 God Bacchus (in ancient Greek mythology Dionysus)
appears on the right. Falling in love with Ariadne from the first
glance, he gets out of the chariot with two cheetahs.
Ariadne was just thrown by the Greek
the hero Theseus on the island of Naxos - his ship is still
seen in the distance. The moment is captured on the canvas
fright of Ariadne from the sudden appearance of a god. By
legend Bacchus later took her to heaven and turned into
the constellation Corona, which is symbolically depicted
in the picture (in the sky above Ariadne).
The composition is divided diagonally into two
triangle: one is a fixed blue sky, for
which Titian used expensive lapis lazuli, with
two lovers and the second - full of movement
landscape in green and brown tones with
characters accompanying Bacchus. Interesting,
that among the figures accompanying the chariot,
one stands out, obviously inspired by
sculpture of Laocoön and his sons, found
shortly before painting the picture in 1506. "Denarius of Caesar"
1516
Even at the end of the 15th century
Leonardo
contrasts in
my secret
the evening is human
e nobility and
human
meanness. Titian,
sensitive
time, couldn't
ignore these
contradictions. The plot of the picture reflects the moment when the Pharisees,
dissatisfied with the revelations on the part of Christ, decided
ruin him. But being afraid to kill Christ themselves, they decided
do it by the hands of the Romans. For this, the Pharisees invented
cunning plan. They sent one of the Pharisees to Christ with
silver coin - denarius.
The figure of Christ majestically dominates the picture, filling
the picture is almost entirely, stands out against a dark background.
If the image of Christ is dominated by the ideally sublime
beginning, then in the guise of a Pharisee a certain
his meanness, insignificance, full of vices. His hand is swollen
and sinewy, the hook-nosed profile is sharp, the face is wrinkled.
The theme of the meeting of two opposite worlds, the world
lofty ideals and reality,
as if fastens and completes, creates a kind of connection,
expressive contrast of the thin hand of Christ, which
never touches the coin pointed to by Christ,
and the powerful hand of the Pharisee, tightly clenching the silver
denarius. Portrait
Pope Paul
III s
Alessandro
and Ottavio
Farnese
First
written in
genre
group
porter.
1546 Penitent Mary
Magdalene 1565
Canvas with
depiction of Mary
Magdalene was
commissioned by Titian in
mid 1560s.
For this picture
posed for the artist
Julia Festina. When
the picture was ready
She was
shown to the duke
Gonzaga, to whom she
liked it so much that
ordered a copy. After
Titian did this
a few more copies
changing the tilt of the head and
hand position
women and also
landscape background
paintings. Paolo Veronese
1528-1588
60 years
Paolo Veronese
was born in Verona. IN
family was the fifth
son. studied with
Venetian
artist Badile,
worked in Verona
and Mantua.
In 1566 he married
daughter of his teacher
Antonio Badile. Died
Paolo Veronese from
pneumonia in
Venice. Was
buried in the church
Saint Sebastian. Paolo Cagliari (Veronese), It was
extraordinarily gifted artist
25 years old he has already become famous
paintings for the Venetian Palace
Doge. Paolo quickly conquered
artistic Olympus Of Venice,
demonstrating in their work
richness and harmony of colorful
palettes, flawless drawing,
great sense of composition. How
and most of his artists
time, Veronese wrote mainly
paintings on religious and
mythological stories. "Adoration of the Magi" 1573 Small (45x34 cm) picture is
unique work. It can be
enlarge it to the size of a fresco, and it
will not lose their artistic
merits. Veronese recreated one
of the most important moments
the life of Christ.
It was written for the church of San Silvestro in Venice and remained
there, until in the 19th century it was not
rebuilt. "The Adoration of the Magi" is not an altarpiece, a painting
hung on the wall of the nave next to
the altar of the brotherhood of Saint Joseph. Three magi who came from the East, following the guiding
star, they found Mary and the Child in Bethlehem. IN
renaissance painters and Veronese in particular,
often painted the house in which the Virgin Mary gave birth. This house
looks like a dilapidated building and symbolizes
Old Testament. Christ came to earth to replace him
to the New Testament. The picture shows that this "house" is attached
to the ruins of a majestic building in a classical
style with a triumphal arch in the background - an indication of
Rome. In the foreground are the Magi with their retinue. Apart from
gospel characters Veronese, as usual, introduces
scene of many other participants, turning completely
in his own style, an exalted act of worship of the Child (then
there are confessions of His Divine nature) in splendid
festival.
The diagonal that dominates the picture, which forms
a stream of light pouring from heaven with figures of angels on it,
"responds" another, drawn at right angles to
this ray - from the figures of the Magi. Madonna and Child
are at the intersection of lines - wonderful and
unique compositional solution. "Marriage in Cana of Galilee" "Marriage in Cana of Galilee" - painting after
motif of the famous gospel story about
Jesus turning water into wine.
The painting depicts about 130 figures,
among which is the later tradition
highlighted portraits of famous rulers
renaissance such as Karl
V, Francis I, Suleiman
Magnificent, Mary I, and others.
In the image of musicians in the foreground
Veronese captures famous
Venetian painters -
Titian, Tintoretto, Bassano and himself in
white clothes.
The painting was done by
commissioned by the Benedictines of San Giorgio
Maggiore in Venice for the refectory of the abbey. One of the best and famous
works of the painter - "Triumph
Venice", a huge picture
oval shape, which
this day decorates the ceiling
Great Council Hall in
Doge's Palace.
The plot of the work is majestic
and pompous - heavenly angel
crown Venice. Around
the main characters are located
figures of people, allegorically
pointing to everything
Venetian virtues
republics, which
ensure its prosperity
and glory.
Notable in the work are two
moment - the figure of an angel,
which is depicted in a very
difficult foreshortening, and color
solution. rich color
the color of the style
Veronese in general so far
causes admiration. Tintoretto
(Jacopo
Robusti)
1519-1594
75 years old Tintoretto was the son of a dyer
silks. He didn't go through the usual
training in the workshop of the painter and
was self-taught (art critics
they call only one name of the teacher, Titian, but he studied only
a few days.) Tintoretto with
studied creation with great zeal
great masters of the Renaissance
(Titian and Michelangelo). Miracle of Saint Mark
1547-1548Scuola Grande di San Marco, rich and powerful
association of spice merchants, also adorned their
rooms with scenes from the lives of saints. For her
thirty-year-old Tintoretto performed the composition "Miracle
Saint Mark", having won his first unconditional success.
By the time the canvas was created in Venetian painting
there have been significant changes. Tintoretto, Jr.
contemporary of Giorgione, Titian and the great masters
High Renaissance Central Italy, not only
learned their lessons ("drawing by Michelangelo, coloring
Titian").
It is in the "Miracle of St. Mark" (the apostle frees
Christian slave from torture) researchers discover
the first triumphant manifestation of an independent
influences of Tintoretto's manner.
As for the features of the pictorial structure of the canvas, then
restless play of unnatural light, with the help of
which the artist creates a wonderful atmosphere, especially
noticeable with a juicy and bold palette of costumes
characters. "Crucifixion" (1565-1588)
The grand scope of Tintoretto's talent
manifested itself in the Scuola di San Rocco ensemble. By
walls and ceilings of this two-story room
placed huge multi-figured
compositions that feel authentic
the folk basis of Tintoretto's work. "Crucifixion" - monumental
composition depicting crowds
of people,
confused
And
curious
mournful
And
triumphant at the sight of the crucifixion. At
the very foot of the cross - group
loved ones,
shocked
view
suffering revealed to them. And over
with all this sea of people, in radiance
dawn rises the cross with the crucified
Christ, as if extending
hands embracing the worried
restless world. Origin of the Milky Way 1575-1580 The plot for his work was taken from the Greek
mythology. Zeus wanted to
immortal his son Hercules,
born of an earthly woman. For this he
plunged his wife into a deep sleep,
goddess Hera, and put the baby to her breast,
so that he can drink the divine
milk that grants immortality. Hercules already
then distinguished by incredible strength, became
sucking milk so vigorously that caused
Gere pain. The goddess pushed the baby away, drops
milk spilled into the sky and turned into
into the stars that formed the Milky
Path. Drops of milk that fell to the ground
became white lilies.
Art of the Renaissance and the Middle Ages: RenaissanceMiddle Ages Individual creativity of specific artists and masters Art is anonymous: the personality of the artist is weakly expressed; artists understood art as a service, as a collective work Secular art: in a religious form, artists preached secular ideals Religious art in form and content The number of secular types of painting increased Religious types of painting
He worked very slowly (the Last Supper fresco in Milan was painted for 16 years) Many of his works remained unfinished by Lonardo da Vinci ()
Lived in Florence for several years Moved to Rome By order of Pope Julius 2, he created a cycle of murals in the state rooms of the papal residence in the Vatican Painted many portraits by Rafael Santi ()
"The School of Athens" - the best fresco of Raphael in the Vatican Palace In the center - Plato and Aristotle Plato points to heaven with his finger, Aristotle points to the earth Leonardo da Vinci is depicted in the image of Plato, the philosopher Michelangelo is sitting in the foreground, Raphael depicted himself on the right next to the astronomers
Sculptor Painter Architect Poet - Worked in Florence - then in Rome - then in the Vatican Michelangelo ()
The walls were already painted by Botticelli and others. Michelangelo was asked to paint the ceiling. He worked without assistants. He painted while standing on the scaffolding and throwing his head back. He worked for several years. His frescoes illustrate myths about the creation of the world and man. chapel of the Vatican Palace in Rome)
