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The venetian florence
- 1. La diferencia Entre las escuela Florentina y la Veneciana
- 8. El Renacimiento en Florencia
- 20. Escuelas de Atenas - 1509
- 21. Leon Battista Alberti (1404 - 1471) Familia florentina regresó del exilio en 1429 El pensamiento de la arquitectura como base socio-política S. Francesco Tempio Malatestiano (1450) S. Maria Novella (1,458 a 71) Aunque nunca produjo nada digno de mención, escribió varios libros sobre pintura y la forma de pintar bien
- 25. Algo manierista Alejado del contraposto y torturadas Emociones Pintura al óleo Duradera en el clima húmedo de Venecia The Venetian School (Cont...)
- 26. Giovanni Bellini (1426-1516) Nacido en Venecia Fundador de la escuela veneciana de pintura Se utiliza la luz y el color de las transiciones sin las líneas Retablo de San Zaccaria (1505)
- 29. El membrillo es la celebración de Cibeles que simboliza el matrimonio, y como parte de Neptuno se apoya en el muslo, se puede preguntar si tal vez simboliza el duque y su esposa. Priapus y Lotis
- 30. Titian Nombre real: Tiziano Vecellio (1485-1578) Estudió con Bellini y Giorgione Uno de los más grande pintor es de la escuela veneciana
- 31. Titian (cont.) Adoración de Venus B aco Ariadne Bacchanal
- 32. Titian (cont.) Observe las hermosas líneas del horizonte en el fondo Presentación de la Virgen (1539) Magdalena Penitene (1555-1556)
- 33. Giorgione (1477-1510) Nombre real: Giorgio de Castelfranco Castelfranco está a 30 km al noroeste de Venecia Algunos de sus cuadros fueron terminados después de su muerte Venus durmiente (1510)
Notas del editor
- (Map: http://www.studentholidays.com/italy/italy.htm) As a major port on the Adriatic Sea, Venice had easy access to Eastern European ports as well as to Turkey and Africa, making it more susceptible to foreign influences, than Florence, which is landlocked and had to wait for outside influences to come to it – which account more for the different styles of art: Venice was very open to the outside world, and their painting styles developed to be very relaxed and sensual; while Florence, though open to the outside, still restricted because of it’s geography, and with an emphasized structure based on baking and finance, tended more towards form and shape, because it was more familiar to Florentine way of life.
- Venice is most famous for its canal streets (Picture: http://www.bellefleursstudio.com/images/venice/Canal_with_Bridge_l.jpg) As Venice was further away from Rome, it was less susceptible to the Church’s influence and therefore freer to do what it pleased in terms of patronage – for example, much of Michelangelo’s art was paid for by the Church, while more often nobles supported Venetian artists.
- Alfonso d’Este (http://en.wikipedia.org/wiki/Image:176px-alfonso-II-deste.gif) Alfonso became the Duke of Ferrara, and commission several artists of the Venetian School for paintings to put in his palace. Giovanni Bellini painted The Feast of the Gods, and Titian painted Bacchus and Ariadne, Bacchanal, and Worship of Venus – to name a few.
- Picture: http://andreea.francu.com/travel/florence.vr/pic/med-florence.jpg Florence was the artistic center of the Renaissance, where many of the famous artists were born in or near. The large dome in the background is that of the Santa Maria del Fiore, raised by Bruneschelli between 1420 and 1436.
- Lorenzo de Medici (http://www.wsu.edu:8000/wciv/b/bb/bbw/bbw01.jpg) Lorenzo supported artists such as da Vinci, Botticelli, and Donatello, although he couldn’t financially commission any works himself. He even housed Michelangelo for several years – allowing him to dine with the family and sit in on meetings at the Neo-Platonic Academy.
- The main difference between Venetian art and Florentine art, is that the latter tends to make the viewer think, and sometimes be overwhelmed, while the Venetian styles appeals more to the viewer’s emotions – giving them a sensual, peaceful feeling. Because of Venice’s strategic trading location, the market for colors contained a much greater variety than Florence, because the Venetians had the ability to import colors from Asian and African coasts.
- Michelangelo’s David (http://www.uwm.edu/Course/mythology/0100/renaissance.htm) A good example of what Florentine art was all about – has the biblical theme, focuses on the individual subject, is in the classical style, and portrays the subject in a very glorious and heroic manner.
- Donatello - http://www.yesnet.yk.ca/schools/projects/renaissance/donatello.html Raphael – http://corinah.tripod.com/pages/1506_Raphael_Self-Portrait.htm Brunelleschi - http://ens.math.univ-montp2.fr/SPIP/-Filippo-Brunelleschi- Alberti - http://instruct1.cit.cornell.edu/courses/arth538/ Michelangelo - http://www.yesnet.yk.ca/schools/projects/renaissance/michelangelo.html Botticelli - http://paradoxplace.com/Perspectives/Italian%20Images/Single%20frames/Portraits/Botticelli.htm Da Vinci - http://asteras24.tripod.com/home.html Many of these men were restricted to these categories, but are best known for their work in these fields. Michelangelo, for example, not only painted the ceiling of the Sistine Chapel, but considered sculpture to be his forte. Da Vinci, in addition to being a painter, was an engineer, inventor, and scientist. In addition, Alberti wrote several books about painting, deeming it to be the acropolis of art and classifying it into three categories: circumscription, conscription, and ability to receive light . However, Alberti never produced any great painting of any notice like he did in architecture.
- As a realist, his patrons found Donatello to be very difficult to work with. (Left) – St. Mark (<http://http://www.artchive.com/artchive/D/donatello/donatello_saint_mark.jpg.html>): Traces of gothic, especially with the pointed arch (which looks like the Venetian Gothic arch, as a matter of fact), and uses the a biblical theme and classic styling.
- (Center) – David (http://www.luc.edu/depts/history/dennis/Visual_Arts/101Images/17_17.08-30_Donatello_David1.jpg): First nude sculpture of the Renaissance, as well as the first bronze; a secular subject from ancient times, it is one of the most famous sculptures of the Renaissance. (Right) – Gattamelata (http://www.artchive.com/artchive/D/donatello/donatello_gattamelata.jpg.html): Based upon a statue of Marcus Aurelius, it was the first bronze equestrian figure since ancient times. Probably the greatest impact Donatello had on the Renaissance was the development of the shallow relief technique – which makes a statue seem deep, while actually using a shallow plane for the figure.
- Sacrifice of Isaac (http://www.wga.hu/frames-e.html?/html/g/ghiberti/1sacrifi.html) This was the gold work with which Ghiberti defeated Bruneschelli in the contest to construct the door to the Baptistery. This defeat is what made Bruneschelli turn toward architecture, and the next time these two men met was during the raising of the S. Maria del Fiore’s cupola – which they both worked on together. However, Ghiberti was not up to the task, as he didn’t understand architecture as well as Bruneschelli did, but continued to be paid even after his contemporary was named the sole head of the project.
- (Left) Bronze Doors (http://daphne.palomar.edu/mhudelson/WorksofArt/12EarlyRen/1846.html) 1403-1424 20 of the panels illustrate the life of Christ. (Top) Gates of Paradise (http://earth.usc.edu/~kfrankel/italy.html) 1425-1452 Each panel has seven scenes from the bible from Genesis to Kings, stating with the Creation of Adam. The ornate detail set a very high standard for other sculptors to follow later. (Bottom) – and enlargement of one of the Gate’s panels.
- Botticelli was not a fan of realism, and instead favored allegory in his paintings. The Florentines liked Botticelli because he was known for being a jokester, and his paintings were very colorful and pleasing to the eye. In fact, his use of blended color is very much like that of the Venetian school, except he still relies on geometry and perspective to enhance the focal point. (Top) – Primavera (http://www.wga.hu/frames-e.html?/html/b/botticel/5allegor/10primav.html) 1477 (Left) – Birth of Venus (http://www.abm-enterprises.net/artgall2/botticelli_birth_venus.jpg) 1484 (Right) – Adoration of the Magi (http://www.wga.hu/frames-e.html?/html/b/botticel/21/7adorati.html) 1481-1482
- Primavera (http://www.wga.hu/frames-e.html?/bio/b/botticel/biograph.html) The first surviving painting from the post-classical period which has almost naked and life-sized gods, Primavera (“Spring”), contains specifics related to Botticelli, such as the long (almost too long) bodies and the rounded stomachs on the women. Who’s who (from left to right) Mercury (messenger of the gods), the Graces (goddesses of pretty feminine things), Venus (goddess of love), Eros (God of Love) (above Venus) Flora (goddess of spring), Chloris (nymph), Zephyr (god of the winds).
- Mona Lisa (http://www.abm-enterprises.net/artgall2/monalisa.jpg) Light is very interesting to think about in this portrait, as it is brightest on the chest, and somehow illuminates her face. Unlike other Florentine paintings, the lines here are very undefined and hard to pick out, with the colors blending into each other (sfumato), especially around the face and arms. Last Supper (http://www.eskimo.com/~rwb/images/europe/11-milan-last-supper.jpg) See the use of geometry? Da Vinci often grouped various figures into shapes and forms to draw the eye towards the focal point, while still keeping true to the individual positioning of each figure.
- Creation of Adam - http://www.artchive.com/artchive/M/michelangelo/creation.jpg.html Pieta - http://www.kornea.com/personal.html David - http://www.assumption.edu/dept/history/Hi118net/Unit_2.html Michelangelo considered himself a much better sculptor than painter, finding more joy in the former, but couldn’t resist a commission when it came his way (which is why he painted the Sistine Chapel).
- From Perugino, Raphael learned emphasis on perspective, how to relate figures with architecture, and how to form sweet, gentle figures. Marriage of the Virgin (http://www.wga.hu/frames-e.html?/bio/r/raphael/biograph.html) 1504 Notice how, not only does Raphael include the classical style edifice in the background, but he emphasized the subject of the painting by use of perspective created from it. The figures, also, seem to be very gentle and graceful – all of which characteristics he learned in Perugia. Entombment (http://www.wga.hu/frames-e.html?/bio/r/raphael/biograph.html) 1507 While in Florence, he learned how to build his figures to emphasize the object of the work, forming them into shapes while keeping their individual positions.
- School of Athens (http://www.wga.hu/frames-e.html?/bio/r/raphael/biograph.html) Perhaps Raphael’s most famous work of art, School of Athens celebrate classical thought, representing that truth is acquired from reason. The scene takes place in ancient times, under a Roman arch, comprising all the great figures which symbolize the different schools of knowledge necessary to have a philosophic debate.
- S. Francesco Tempio Malatestiano (http://www.storiadellarte.com/biografie/alberti/immagini/malatestiano.htm) 1450 Built for Sigismondo Malatesti, lord of Rimini, and was based partially upon the arch of Augustus. Arch of Augustus (http://wings.buffalo.edu/AandL/Maecenas/italy_except_rome_and_sicily/rimini/ac861105.html) Santa Maria Novella (http://www.andrew.cmu.edu/user/gprichar/photography/italy/florence1.jpg) 1458-1471 Giovanni di Paolo Rucellai consulted Alberti to rebuild the façade of the Santa Maria Novella.
- Dome of Santa Maria del Fiore (http://www.modjourn.brown.edu/mjp/Image/Brunelleschi/dome.jpg) 1420-1436 Bruneschelli was forced to work with Lorenzo Ghiberti at first during this project, with whom he hated working. He finally showed that Ghiberti wasn’t fit to help with the construction after two sly attempt to make him seem foolish, and became head of the project.
- 400 years before impressionism, Venetian artists managed to play with light and shadow to create effects. Venus of Urbino (http://www.hpl.hp.com/personal/John_Wilkes/VenusOfUrbino/full.gif) Venuses were common subjects among the Venetian school, as Titian’s painting shows. Here, the woman is reclining, almost seducingly, and the rich color contrasts create a very sensual feeling for the viewer.
- The fling Venetian art had with Mannerism was very brief, as odd positioning didn’t really make much for the overall theme of the picture. Sacred and Profane Love (http://www.wga.hu/frames-e.html?/bio/t/tiziano/biograph.html) Titian 1514 Titian’s masterpiece celebrate the wedding of Nicolo Aurelio and Laura Bagarotto in 1514, with the latter positioned on the left, as if in a portrait, sitting next to Eros (center) and Venus (right).
- (Top picture) – A portrait of Bellini (http://www.wga.hu/frames-e.html?/bio/t/tiziano/biograph.html) 1500 (Right) – San Zacarria Altarpiece (http://www.wga.hu/frames-e.html?/bio/t/tiziano/biograph.html) 1505 The use of rich color sets the mellow overtone of the painting, by which the figures, light, and air around them seem inseparable. There is use of geometry in this painting, as the Saints on either side of the Virgin appear symmetrically, yet leaving the harmony undisturbed.
- Frari Triptych (http://www.wga.hu/frames-e.html?/bio/g/giorgion/biograph.html) Here you can better see a use of rich color and ornate detail (especially of the wooden frame) - as opposed to the shapes surrounding her - not only to exist in harmony with the rest of the painting, but they also draw the eye towards the Virgin in the center.
- (Left) Feast of the Gods – (http://webexhibits.org/feast/context/index.html) 1514-1529 (Right) X-Ray of the painting (http://webexhibits.org/feast/context/index.html) Much of Bellini’s original work (he completed and received payment for it in 1516) was painted over by Titian (who painted over after Bellini’s death)– the trees (to make the feast seem as if in a more open field, rather than a dense forest), the figures (many of the nymphs were originally fully clothed), and even Neptune’s hand on Cybele’s thigh.
- Feast of the Gods (http://webexhibits.org/feast/context/) The Myth: In classical mythology, all the gods went into the forest to have a feast with some nymphs, and Bacchus got everyone drunk. Priapus, however, who planned to ravish the nymph, Lotis. Before he was able to do anything Silenus’s donkey wakes everyone up – including Lotis – who pushed Priapus off herself. Priapus was then banished, but Lotis was turned into a locust tree.
- (Middle) Assumption of Virgin (http://www.wga.hu/frames-e.html?/bio/t/tiziano/biograph.html) 1516-1518 This is a distinct turning point for Titian’s work, in that it breaks the Venetian style – this work isn’t supposed to appeal to the emotions as it is to make the viewer seem small in comparison to the grandeur of the Virgin’s divinity. The style of the apostles demonstrates Michelangelo’s influence upon Titian, and thus more of the heroisms associated with Florentine art. (Right) Self portrait (http://www.wga.hu/frames-e.html?/bio/t/tiziano/biograph.html) 1550-1562 Painted towards the end of his life, this portrait has a very baroque feel, with the great use of sfumato – it’s hard to tell which part of the painting is him and which is the background.
- (Left) – Worship of Venus (http://www.wga.hu/frames-e.html?/bio/t/tiziano/biograph.html) 1519 (Right) – Bacchus and Ariadne (http://www.wga.hu/frames-e.html?/bio/t/tiziano/biograph.html) 1523-1524 (Top) Bachanal (http://www.wga.hu/frames-e.html?/bio/t/tiziano/biograph.html) 1525 These three classical themes were painted for Alfonso d'Este, who also commissioned Bellini to paint the Feast of the Gods. The figures in these paintings might seem like contraposto, but they really aren’t – none of the positions are unnatural or awkward, but merely the figures in motion frozen in time.
- After his wife died in 1520, his work became much more mellow, with related and pale colors, rather than bright, contrasting ones. In both of these paintings, you can see how influenced Titian was by Giorgione, as the blended skylines and bright colors (mostly in Presentation of the Virgin) show. Top – Penitent Magdalene (http://www.mystudios.com/art/italian/titian/titian-penitent-magdalene.html) 1555-1556 The sorrow expressed through Titian’s dark colors, positioning of Mary Magdalene, and use of expression, are characteristic of the more somber mood Titian turned toward after 1520. Presentation of the Virgin (http://www.wga.hu/frames-e.html?/html/t/tiziano/4religio/presenta.html) 1539
- “ Giorgione” means ‘Big George’ – because he, as you can guess, very large physically. (Top) – Self portrait (http://keptar.demasz.hu/arthp/art/g/giorgion/self_prt.jpg). His use of light is very dramatic – the viewer can almost feel how large he was, as he is the only subject and takes up most of the space - and foreshadows (no pun intended) Baroque. (Bottom left) – Sleeping Venus (http://www.wga.hu/frames-e.html?/bio/g/giorgion/biograph.html) Finished by Titian after his death. The Venus is elegantly laid out on a twisted sheet, which Giorgione painted so realistically, one could almost reach out and grab it, while the faded sunlight gives the feeling of a very relaxed and peaceful environment
- The Tempest – (http://keptar.demasz.hu/arthp/art/g/giorgion/tempest_.jpg) You can see his use of blended color to make each object blend in with another. The confusing thing about this painting is that there is no clear subject: The gypsy’s deep red jacket catches the viewer's eye, but the light color of the woman and child contrasts slightly with the green leaves behind her, while between them a storm hangs ominously over the town. The Impassioned Singer - (http://www.wga.hu/frames-e.html?/html/g/giorgion/) The strong contrast in light here might be considered that of Baroque, but the bright red hat, the facial expression, and the gesture towards the heart all reveal this work to be Giorgione’s.
- Adoration of the Shepherds – (http://www.wga.hu/frames-e.html?/html/g/giorgion/) 1505 – 1510 The lighting in this painting is very interesting to analyze: the bright landscape in the background is enough to light the shepherds, while, logically, the Joseph and Mary shouldn’t be. It is Mary who actually illuminates against the dark cave – suggesting her divinity – some of which light accents Joseph. This use of lighting contrasts is characteristic of Venetian art, and had a direct impact upon the School thusly.