At the beginning of the fifteenth century, Veneto was one of the Italian regions where the international Gothic style was more vital, which in Venice was also grafted with Byzantine culture. The repeated stays of artists such as Gentile da Fabriano, Pisanello and Michelino da Besozzo testify to the vitality of this style. However, already in the s the Venetian cities, in particular Venice and Padua, inaugurated a series of exchanges with Florence and Tuscany, which brought precociously some novelties of Renaissance art through the stay of important artists such as Andrea del Castagno, Paolo Uccello and Filippo Lippi.
The Paduan humanism, after all, flourishing around its University, had a long tradition started by the stay of Francesco Petrarca, with an environment full of scholars and antique dealers who tried to reconstruct the classical world through the study of ancient finds.
After the stay of Donatello in Padua — , the Renaissance novelties were definitively received and transmitted to the whole of Northern Italy. In the sixteenth century Venice was at the height of its economic power: the center of trade and commerce throughout Europe, a meeting place between Christianity, the Levant and the East.
Until the Atlantic trade routes and the competition of the British and Dutch shipowners in the Mediterranean did not overthrow it, Venice was also the main point of connection with the European North for the trade of precious goods coming from the East. With Flanders and southern Germany, between the 15th and 16th centuries, the network of relationships between which the artistic ones had particular importance was dense.
His role was twofold: he was the agent of the Renaissance movement in his own Germanic land and particularly influential of portraiture in the Veneto region. Starting from this dialogue became thickened and enriched with artistic interventions not only Nordic, but also Tuscan.
Another factor that promoted the artistic movement was the development of publishing in Venice. Venice is a prosperous city with a stable government and soon becomes an important center of publications. Padua The Renaissance in Padua had a beginning that was unanimously made to coincide with the arrival of the Florentine sculptor Donatello, from Here, thanks to a particularly prearranged and prolific environment, an artistic school was developed which, due to its precociousness and wealth of ideas, was the origin of the spread of Renaissance art throughout northern Italy.
The presence of numerous Tuscany artists in Venice and Padua — among others, painter Fra Filippo Lippi and sculptor Donatello — contributed to the development of a new vision of the arts.
Together with those in Tuscany, discoveries and ideas of Renaissance come to Venice: the study of the perspective, naturalism, the concept of proportion, the anatomical studies, and the return to the canons of the art of Antiquity. In the year he was called to Venice by painter Gentile da Fabriano , who, with the help of Antonio Pisano, said Il Pisanello, decorates the grand hall of the Council.
Among the first Venetian Renaissance artists were Antonello da Messina — , originally from Sicily and — especially — Bellini brothers, Giovanni Bellini ca. Their father, Jacopo Bellini ca — , was already a mature artist when he gave up the Gothic style, whose exceptional representative was his master, Gentile da Fabriano. Jacopo Bellini take new ideas, following the example of its children, namely one of its groom, one of the pioneers of the Italian oil painting, Andrea Mantegna — Under the influence of Flemish painting, Giovanni Bellini is among the first Venetian painters to apply this technique.
He is owed to him about. Famous is Madonna of the Annunciation, among the first painted paintings in oil. The "Concert Champetre" "Concert in the Countryside" may have been one of the artist's last pictures.
It too explores the atmospheric effects of light and subtleties of relating figures to one another. The charming pastoral scene, like that of the earlier "The Tempest," may reflect a classical poem; it was a common convention of some classical poets to set events in the countryside, with principal characters portrayed as simple shepherds.
As in the earlier work, there is a contrast between clothed male figures and nude women. There is, however, no mutual awareness: the youths play and converse without acknowledging the presence of the lovely young women.
Perhaps Giorgione is fancifully portraying a moment when the singers, enchanted with the beauty of nature and composing songs of love to classical deities, have actually been visited by the divine spirits whom they celebrate. Giorgione's poetic visions of a classical paradise may be viewed as a part of Venetian evolution from the great ceremonial paintings of Bellini to the work of his follower, Titian, with its attention to communicating the tangible and sensuous aspect of animate and inanimate forms.
His uncompleted masterpiece - later somewhat inappropriately completed by Titian - was Sleeping Venus , Gemaldegalerie Alte Meister, Dresden.
Titian One of the greatest painters in the history of art , Tiziano Vecellio, or Titian c. During the High Renaissance and later Mannerism period, he achieved a celebrity that rivalled the fame of Michelangelo. He was born in the southern Alps in the town of Cadore; after his arrival as a young man in Venice, he seems to have studied with Gentile and Giovanni Bellini before becoming the pupil of Giorgione.
He is known to have worked with Giorgione on the fresco decorations of the Fondaco dei Tedeschi in , but his own artistic temperament seems to have asserted itself very early - he evolved a visual style of expression far more dramatic than the quiet contemplations of his master. In describing the collaboration on the Fondaco dei Tedeschi frescoes, he states:. This so incensed Giorgione that until Titian had completely finished and his share in the work had become general knowledge he would hardly show himself out of doors.
And from then on he would never allow Titian to associate with him or be his friend. A religious history painting illustrates Titian's mastery of landscape art : his "Noli me tangere" shows the risen Christ warning Mary Magdalene not to touch Him, because He has not yet joined His Father. The background, like those in Giorgione's paintings, shows soft, rolling hills, farm-houses, and grazing sheep. However, what is very different is the scale of the figures and the dramatic and intimate relationship established by their gestures, in contrast to the ambiguous, distant melancholy of Giorgione's compositions.
Striking too, is the new intensity of Titian's colour painting - the vibrant warm scarlet of the Magdalene's dress and the lush green of the vegetation. See his energetic pagan works Bacchus and Ariadne and Bacchanal of the Andrians , as well as his female nude Venus of Urbino , Uffizi. Even before Raphael died, Titian was seen as an extraordinary talent - witness his awesome altarpiece Assumption of the Virgin c.
After Raphael's demise, Titian became the most celebrated portraitist of his time. Among his best portrait art is his portrait of the painter and critic Pietro Aretino and a wonderful self-portrait. Both the painting of Aretino, done in about , and the self-portrait, executed about , thirteen years before the artist's death, reveal his mastery of the oil painting technique.
In each, the sitter emerges from a dark background, and his thoughtful face is presented in a three-quarter view, partially obscured by qualifying shadows. A warm, golden light pervades each canvas and animates the rich textures of the sitters's clothing. When compared with the "Woman in Furs", done about twenty years earlier, the brush stroke of Titian's later portraits seems much freer and the effect more spontaneous.
See also: Venetian Portrait Painting c. The increasing freedom of brush stroke or painterly quality that marks Titian's late style can also be noted in his group 'portrait Pope Paul III with His Grandsons , which might be compared to Raphael's portrait of Pope Leo X and his nephews. In contrast to the highly finished surface of Raphael's work, Titian's canvas seems almost incomplete: slashes of paint are visible, and parts of the canvas are left virtually untouched, while in other areas the pigment is applied heavily and globules of glistening oil almost seem to cling to the surface.
Titian's deft ability to grasp the personality or character of the sitter is remarkable. In the painting of Paul III and his nephews, this character delineation is very strongly asserted.
The fragile, wizened figure of the pontiff clearly dominates over those of his attendants, making an interesting comment on the nature of the relationship; the painter underlines the dependency of the younger men on their powerful uncle. During his lifetime, Titian earned the title "prince among painters. He was a favourite of the Emperor Charles V, who made him a count palatine in His manners were cultivated and his household luxurious, and he regularly received all of the important dignitaries who came to the city of Venice.
One of Titian's biographies states that the Emperor held him in such esteem that when visiting his studio, he did him the honor of picking up a brush that the painter had dropped. So great was the impact of Titian's colouristic innovations that even the Florentines were moved to admiration. See also: Titian and Venetian Colour Painting c.
Michelangelo, although he lamented Titian's lack of " disegno ," or drawing, nevertheless praised him highly for his colouring and style. The full influence of Titian's achievements was probably not felt until the seventeenth century, when countless artists from Italy and northern Europe journeyed to Venice to study and absorb his extraordinary and celebrated style.
For details of the colour pigments used by Venetian Renaissance painters, in fresco, tempera and oil painting, see: Renaissance Colour Palette. For a general review of colourism, see: Colour in Painting.
Paolo Veronese Paolo Veronese arrived in Venice after having acquired a thorough artistic training in his native Verona. Shortly after his arrival in the city, he became one of the leading Mannerist artists and exponent of the colourful Venetian manner that is reflected in his monumental canvases The Wedding Feast at Cana This work is only one of a number of banquet scenes executed by Veronese: "The Meal in the House of Simon" and Feast in the House of Levi are among the other famous works typifying the contemporary taste for elaborate groupings of people and animals against palatial architectural backgrounds.
Veronese's paintings seem almost to be theatrical performances of the most spectacular scale and magnificence. Richly garbed gentlemen and ladies are shown enjoying the pleasures of life amid a wealth of material detail-glittering gold vessels, wine-filled glasses - in the exotic atmosphere and architecture of sixteenth-century Venice. Following this, he was commissioned, along with other artists, to paint the frescoes on the exterior of the newly rebuilt Fondaco dei Tedeschi in Venice.
Although very little of his work still survives, there are a handful of oil paintings accredited to him. Perhaps his most famous is The Tempest , which some call the first landscape in the history of Western painting. In this work he leaves the viewer to determine its meaning. As a result, there have been a number of interpretations over the years.
Another masterpiece, Sleeping Venus , demonstrates his ability to use landscape to add drama and divinity to his subjects. Finally, one of his last paintings, The Three Philosophers , depicts one young, one middle-aged, and one old philosopher standing near a dark cave. This is something for which he is still celebrated today. Unfortunately, Giorgione died during his thirties from the plague which was sweeping across Europe at that time.
Tiziano Vecelli , or Titian , is widely considered one of the most important and influential painters of the Venetian Renaissance. Principally, he produced portraits , landscapes, and mythological and religious paintings. A pupil of Giovanni Bellini, he began his artistic training at the age of He was naturally gifted and flourished in his work from the start. After word got around of his talents, he began receiving commissions from kings and governors from far and wide.
One of his first major commissions was to paint an altarpiece for the Basilica dei Frari in Venice. This piece, known as Assumption of the Virgin , is huge in scale.
Following this, he was no longer an apprentice, but a painter of the Venetian School in his own right. Another triumph was a series of mythological paintings commissioned by the Duke of Ferrara, for a private room in the Ducal Palace. Among them is Bacchus and Ariadne , which many consider to be his greatest work.
Finally, he worked in his later years for Philip II of Spain and as a portrait painter. For Phillip II, he produced a series of mythological paintings. Alongside Titian, Paolo Veronese and Jacopo Tintoretto were the three musketeers of the late 16th century Venetian Renaissance.
In he moved to Venice to work professionally. His panel of Jupiter Expelling the Vices in the former was an impressive work for the young painter.
Consequently, it put him on the map and cemented his reputation as a member of the Venetian School. Later, he became famous for his very large paintings of religious and mythological subjects.
Covering 66 square meters, it tells the religious story of the Marriage at Cana where Jesus converted water to wine. Finally, another of his major works is The Feast in the House of Levi.
The Last Supper painting, the work includes German soldiers, dwarves, and animals. Furthermore, it shows his adoration for intense and luminous colors. Another sibling contribution to the Venetian school came from Jacopo Tintoretto and his sister, Tintoretta. He lived and worked for the majority of his life in Venice. Yet, art historians know very little about his professional training. There are accounts which state he became a pupil of Titian for a short time.
Primarily, it presented the young painter with an opportunity to establish himself as a major artist within the Venetian School. The work represents the story of a slave who was punished but saved by the intervention of God. Above all, his peers celebrated this work for the bold use of color and vigour. The painting was a huge success due to its deep perspective background lines.
He chose darker colors to represent the near subjects, and lighter, almost transparent colors for the background subjects. Notably, Tintoretto portrayed himself in the work as the bearded man next to the camel.
During his long working life, which began about and continued until his death in , he helped establish possibilities for an artistic vocation that would have once been thought impossible. As his career came to an end, these particular shoes as a painter of international repute—and above all as the esteemed recipient of grand commissions from foreign princes—were filled in part by Paolo Veronese — , that unique colorist whose works were by that time filling churches and villas throughout the Veneto.
Leaving his native Verona between and , Veronese had little trouble finding civic and ecclesiastical commissions in Venice. Adept at all the principal genres of painting—religious and secular, in both fresco and oil —he reached the height of his illusionistic brilliance and inventiveness in his fresco decorations for the villas of the Veneto. In Boy with a Greyhound Of the trio of supreme painters active in Venice in the sixteenth century, Jacopo Robusti — , known as Tintoretto, inspired the most controversy and came in for the most criticism from his peers.
Tintoretto, who never traveled, was tied to Venice and the types of commissions the city could offer him: altarpieces and other sacred subjects for churches and confraternity halls, portraits , civic projects, and mythologies. His finest portraits are gripping presentations of Venetian patricians and statesmen Religious works such as The Miracle of the Loaves and Fishes
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