Northern Italy (ch. 20 &21)

•Bellini Brothers: Gentile (c. 1429-1507),

Giovanni (c. 1430-1510)

•One point perspective

•Mantegna brother-in-law

•Radical foreshortening

Giovanni Bellini, Madonna with Saints, 1505, altar painting, oil on wood, 13’ by 8’6”

Venice: Rising power, trade, naval fleet, canvas (transport)

Left: Giovanni Bellini, St. Francis in Ecstasy, c. 1470s, oil &

tempers, 49” by 55”

Right Top: Gentile Bellini, Procession of the True Cross

before the Church of St. Mark, 1496, oil on canvas, 12’ by 24’5”

Right Bottom: San Marco today, Byzantine building, mosaic

Giorgionec. 1475-1510 (plague), student of Giovanni Bellini

Poesie: “painted poems”, inspired by contemporary poems that revived

Classical pastoral verse (idealized rural life)

Enigmatic, nature/landscape, mood

The Tempest

c. 1506, oil on canvas, 32” by 28”

•Poesie: “painted poems”, inspired by contemporary poems that revived

Classical pastoral verse (idealized rural life)

•Enigmatic, nature/landscape, mood

•Founder of Cabinet Paintings: small, viewed up close, private vs. public

Giorgione, Adoration of the Shepherds, oil on panel, ca. 1505-10

Giovanni Bellini & Titian, The Feast of the Gods, 1514 & 1529, oil on canvas, 6’8” by 7’2”

Ovid’s (43 BCE-CE 17) Poem, nymph Lotis, Priapus god of vineyards/virility

Titian c. 1488-1576, student of Bellini brothers & maybe Giorgione

Greatest painter of the Venetian School

The Pastoral Concert or Allegory on the Invention

c. 1510, oil on canvas, 3’5” by 4’6”

Style? Content?

The Pastoral Concert or Allegory on the Invention

c. 1510, oil on canvas, 3’5” by 4’6”

Rich, warm/golden colors

Relatively loose brushwork

Titian

Pesaro Madonna

1519-1526 (7 years)

Oil on canvas

16’ by 8’10”(Jacopo Pesaro was the commander of papal fleet

that defeated the Turks in 1502)

Style? Content?

•Mary & Child

•2 angels

•St. Peter the Evangelist

(book & key/dignity)

•St. Francis

•Pesaro

•Pesaro’s family

•Armored Standard-

Bearer

•Turkish Prisoner

Titian

Pesaro Madonna

•Asymmetrical

•Pyramidal & Diagonal Axis

•Composition: Unified by light &

color, not content

•Ex. Primary colors

Titian

Assumption of the Virgin

1516-18, oil, 23’

The Christian belief that Mary was

taken body and soul into heaven

at the end of her lifehttps://www.khanacademy.org/humanities/renaissance-

reformation/renaissance-venice/late-renaissance-venice/v/

titian-assumption-of-the-virgin

Titian

Venus of Urbino

c. 1538, oil on canvas, 3’11” by 5’5”

Titian Venus of Urbino

c. 1538, oil on canvas, 3’11” by 5’5”

Duke of Urbino = Male Patron

Classical “Venus” = Respectable Elite

Private vs. Public

Safe: Not a depiction of a real woman, not a portrait;

contemporary Venetian courtesan

Marriage: Myrtle, roses, clothing, dog

Titian

Venus of Urbino

Safe: Not a depiction of a real woman, not a portrait;

contemporary Venetian courtesan

Marriage: Myrtle, roses, clothing, dog

Voyeurism: An individual gains gratification from

observing others as sexual objects without

themselves being observedLeft: Capitoline Venus, Roman copy of 3rd or 2nd C BCE GreekCenter: Giovanni Bellini & Titian, Detail of The Feast of the Gods, 1514 & 1529Right: Titian, detail of Venus of Urbino

Portraiture

Isabella D’Este, 1474-1539, noble

woman in Mantua (marchesa)

Left: Titian, Isabella D’Este, 1534-36, oil

on canvas, 40” by 25”

Right: Leonardo da Vinci, Portrait of

Isabella d’Este, c. 1499, oil, Mantua

Vibrancy: Layers & layers of paint

Red, white, yellow, black

Finer Pigments

Left: Titian, Man with Blue Sleeve, c. 1511-12, oil on

canvas, 32” by 26”, possible self-portrait

Right: Titian, Man with Glove, c. 1520, oil, 39” by

35”

Correggioc. 1489-1534, Parma, Italy

Assumption of the Virgin

Main dome interior, Parma Cathedral

c. 1526-30, fresco

Dome diameter: 36’

Correggioc. 1489-1534, Parma, Italy

Assumption of the Virgin

Main dome interior, Parma Cathedral

c. 1526-30, fresco

Dome diameter: 36’

Looking straight up into heaven

Dangling legs; Priest ‘stew of frog legs’

Andrea Mantegna

Two Views of Camera Picta

(Painted Room)

Ducal Palace, Mantua, Italy

Fresco, 1465-74

Gonzaga Family of Mantua

Correggio

Federico Gonzaga II, Duke of Mantua by Holy

Roman Emperor Charles V

Left: Jupiter and Io, c. 1530, oil on canvas,

5’3” by 2’4”

Right: Abduction of Ganymede, c. 1530, oil,

5’2” by 2’3”

Correggio

Soft sfumato & Venetian Paint

Baroque

Left: Leda & the Swan, c. 1532, oil

on canvas, 5’1” by 6’4”

Right: Danae, c. 1530, oil on canvas,

5’3” by 6’3”

Giulio Romano: c. 1499-1546, Roman Fall of the Giants, Sala dei Giganti, Palazzo del Te, Mantua (Frederig II

Gonzaga), 1530-2, fresco

Precursor to

Mannerism

Properzia de’ Rossi c. 1490-1529/30, Bologna, Italy

Joseph & Potiphar’s Wife

Cathedral of San Petronio, Bologna, 1525-6, marble, 1/9” by 1’11”

Vasari: Only woman to be mentioned in his 1550 ed. of Lives of the Artists

Inspired by her own love for a young man, which she got over by carving this panel

Veronese, Feast in the House of Levi or Last Supper, refectory of the monastery of St. Giovanni e Paolo, Venice,

1573, oil on canvas, 18’3” by 42’

Contemporary: costumes, architecture (popular)

Unconnected to main subject

Inquisition: (13th c.) Suppression of heresy, associated with

torture. 1524 re-established to combat Protestantism.