Venetian Art Venice vs Florence Venice is bathed

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’X 7’ 9”

Giorgione or Titian: Pastoral Symphony, 1508 -1510, oil on canvas, 3’ 7”X 4’ 6”, Louvre

Titian: Feast of the Gods, oil on canvas Ducale Palazzo, Ferrara, Italy, 1529

Titian: Bacchus and Ariadne, Ducal Palace, Ferrara, Italy, 1522 -1523, oil on canvas, 5’ 9”X 6’ 3”

Titian: Madonna of the Pesaro Family, 15191526, 15’ 11”X 8’ 10”Santa Maria dei Frari, Venice

Titian: Venus of Urbino, 1538, oil on canvas, 3’ 11”X 5’ 5”, Uffizi Gallery, Florence

Titian: Isabella d’Este, 1534 -1536, oil on canvas, 3’ 4”X 1’ 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, 1525 -1528, oil on wood, 10’ 3”X 6’ 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, 1534 -1540, oil on wood, 7’ 1”X 4’ 4” • Elegance • Irrational depth

Bronzino: Venus, Cupid, Folly and Time, 1546, oil on wood, 5’ 1”X 4’ 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, 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

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