Presentation on the Venetian School of Painting. Presentation "Renaissance Art" Venetian School of Painting lesson notes for 10kl students

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Text content of presentation slides: Venice School of PaintingTeacher MKOU Bondarevskaya Secondary School Ponomareva Natalya Nikolaevna Giovanni BelliniGiovanni Bellini (about 1430–1516), the second son of Jacopo Bellini, is the largest artist of the Venetian school, who laid the foundations of the art of the High Renaissance in Venice. Portrait of Doge Leonardo Loredan ]The portrait of 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 Saint Job At the foot of the high throne, on which the Madonna and Child solemnly sits, blessing those who came to worship her, there are angels playing music (Saint Job was considered one of the patrons of music). The figures are made in life size. Bellini placed two naked saints, Giobbe and Sebastian, on the flanks of Mary's throne, next to them were 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 readable: “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 of the Italian painters to introduce landscape, beautiful and poetic Judith in religious, mythological and historical paintings. ", a Jewish widow who saved her hometown from the Assyrian invasion. After Assyrian troops besieged her hometown, she dressed up and went to the enemy camp, where she attracted the attention of the commander. When he got drunk and fell asleep, she cut off his head and brought it to his hometown, which was thus saved by Sleeping Venus. In this work, the ideal of the unity of the physical and spiritual beauty of man was revealed with great humanistic completeness and almost ancient clarity. Surprisingly chaste, despite her nakedness, “Sleeping Venus” is in the full sense an allegory, a symbolic image of Nature. Storm. The main character in this picture is a thunderstorm. The artist dedicated the background to the shine of a lightning-shaped arrow, which flashed like a snake in the air. Immediately on the right and left, the foreground displays female and male figures. A woman feeds a child. She barely has any clothes on. The picture is full of diversity. Wildlife makes itself felt everywhere http://opisanie-kartin.com/opisanie-kartiny-dzhordzhone-g TitianTitian “Self-Portrait” (circa 1567) Titian Vecellio is an Italian painter of the Renaissance. He painted paintings 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 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. Titian's first works, carried out jointly with Giorgione, were frescoes in the Fondaco dei Tedeschi, of which only fragments have survived. Earthly and Heavenly Love The plot of the painting still causes controversy among art critics. According to the 19th-century Viennese art historian Franz Wickhoff, the scene depicts a meeting between Venus and Medea, who is persuaded by the goddess to help Jason. According to another version, the plot is borrowed from Francesco Colonna’s popular book at the time, “Hypnerotomachia Poliphila.” Against the backdrop of a sunset landscape, a richly dressed Venetian woman sits at the source, holding a mandolin with her left hand, and a naked Venus holding a bowl of fire. According to S. Zuffi, a dressed girl personifies love in marriage; The color of her dress (white), the belt, the gloves on her hands, the myrtle wreath crowning her head, her flowing hair and roses indicate marriage. In the background there is a pair of rabbits - a wish for 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 emerges from the forest thicket with his numerous retinue and rushes towards Ariadne, who is frightened of him. In this compositionally complex scene, all the characters and their actions are explained by ancient texts. Bacchus' retinue performs their rituals: one satyr demonstrates how snakes are entwined around him, another swings a calf's leg, and a baby satyr drags the animal's head behind him. The Penitent Mary MagdaleneTiziano Vecellio wrote his work “The Penitent Mary Magdalene” to order in the 60s of the 16th century. The model for the painting was Julia Festina, who amazed the artist with her 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, wrote 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 on the orders of Emperor Diocletian for refusing to worship pagan idols. Sebastian's powerful body is the embodiment of strength and defiance; his gaze does not express physical torment, but a proud challenge to his tormentors. Titian achieved a unique effect of shimmering color not only with the help of a color palette, but also using the texture of the paints, the relief of the strokes. “Behold the Man” This painting is considered Titian’s masterpiece. It is written on a gospel plot, but the artist skillfully transfers the gospel events into reality. Pilate stands on the steps of the stairs and, with the words “behold the man,” betrays Christ to be torn to pieces by the crowd, which includes warriors and young men of a noble family, horsemen and even women with children. And only one person realizes the horror of what is happening - the young man in the lower left corner of the picture. But he is nothing before those who have power over Christ at the 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 received the nickname Tintoretto (little dyer) by profession from his father, who was a dyer (tintore). He discovered his ability to paint early. 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 the 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 to skillfully depict earthly and divine details. The subject 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 is drowned in twilight and seems limitless thanks to the 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 artist Badile, and worked in Verona and Mantua. In 1553, Veronese was engaged in 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 visited Rome, where he painted 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 Inquisition, but managed to acquit himself and was forced only to correct and exclude some figures in one of his paintings, Lamentation of Christ. He made the composition laconic and simple, which enhanced the expressiveness of the three figures that make it up: the dead Christ, the Virgin Mary bending over him and an angel. Subtle, muted colors are combined into a beautiful range of greenish, lilac-cherry, gray-white tones, softly shimmering in the light and seeming to fade in the shadows. Veronese painted the Lamentation for the Church of San Giovanni e Paolo in Venice between 1576 and 1582. 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 by a copy of the work of Alessandro Varotari (Padovanino).

Giorgione, (1477–1510) “Judith”, Hermitage “Sleeping Venus” 1507. The main role in Giorgione’s work is played by color with a variety of tones and their soft tints. Giorgione is considered the founder of easel painting. His style influenced the painting of the Venetian school and was developed from his student Titian.

Country concert

Giorgione. Thunderstorm.About

Titian Vecellio (1476/77–1576) Titian’s color scheme is based on a golden color scheme, which is based on subtle shades of colors. Who was called by contemporaries “the painter of kings and the king of painters” and why? "Venus of Urbino", 1538

Mythological scenes for the "room of plaster castings" by Alfonso d'Este in Castello (Ferrara). Bacchus and Ariadne

Ascension of Our Lady (Assunta)

"Penitent Mary Magdalene", 1560s. “Portrait of Charles V” COLORIT – harmony of different colors of the picture.

Mannerism (from maniera - technique, manner), a movement that reflected the crisis of Renaissance humanistic ideals. The masters of mannerism sought not so much to follow nature, but to express the “inner idea” of the image born in the artist’s soul. - dynamic composition, - emphasized expression of decor, - desire for stage effects. Mannerism predetermined the birth of the Baroque style. Jacopo Tintoretto ()

The Battle of the Archangel Michael with Satan Second half of the 16th century Tintoretto, Jacopo [

Veronese, Paolo

The ability to harmoniously connect architecture with the surrounding landscape was demonstrated with particular force in Palladio's villas, permeated with a sense of dissolution in nature, marked by the classical clarity of forms and overall composition of Capra or the Rotunda near Vicenza; Barbaro-Volpi in Masera near Treviso, 1560–1570. The most famous villa "Rotunda" is the first central-domed building for secular purposes.

Tiziano Vecellio1476/77 or 1480s, Pieve di Cadore, Venice, - 27.8.1576, Venice
Outstanding master of the Venetian school of painting of the High and Late Renaissance
Early works of Titian dating back to the early 1510s. ("Christ and the Sinner", "Christ and the Magdalene", "Gypsy Madonna", etc.), reveal a closeness to the art of Giorgione, whose unfinished paintings he was finishing at that time. They are related to the works of Giorgione by their interest in landscape, poetic design, lyrical features contemplation, subtle coloring.
By the mid-1510s, after carefully studying the works of Raphael and Michelangelo, Titian developed an independent style. His images during this period are calm and joyful, marked by fullness of life, brightness of feelings, and the stamp of inner enlightenment.
Late 1530s-1540s - the heyday of Titian's portrait art. With amazing insight, the artist depicted his contemporaries, capturing the most diverse, sometimes contradictory features of their characters. Among the best portraits of Titian are “Ippolito de’ Medici” (1532-33), the so-called “La bella” (circa 1536), “Pietro Aretino” (1545) “Pope Paul III with Alessandro and Ottavio Farnese”, “Charles V”, Charles V at the Battle of Mühlberg
Pietro Aretino (1545)
The color scheme of Titian's later works is based on the finest colorful chromatism: the color scheme, generally subordinate to a golden tone, is built on subtle shades of brown, steel blue, pink-red, faded green.
The life-affirming beauty of the human body became the leading motif of the artist’s works with subjects drawn from ancient mythology (“Danae”, circa 1554, Prado, Madrid and Hermitage, St. Petersburg; “Venus in front of the mirror”, 1550s, National Gallery of Art, Washington; “Diana and Actaeon”, 1556, and “Diana and Callisto”, 1556-1559, both paintings in the National Gallery of Scotland in Edinburgh)
The artist’s brushwork becomes exceptionally free; composition, shape and color are built with the help of bold plastic modeling; paints are applied to the canvas not only with a brush, but also with a spatula and even with fingers. Transparent glazes do not hide the underpainting, but in some places reveal the grainy texture of the canvas.
In the 1550s, the nature of Titian’s work changed, the dramatic beginning in his religious compositions grew (“Martyrdom of St. Lawrence”, “Entombment”). At the same time, he again turns to mythological themes, the motif of blooming female beauty (“Sisyphus”, “Danae”, “Venus and Adonis”, “Perseus and Andromeda”).
“Saint Sebastian”, 1565-1570, Hermitage

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In 1532, Titian met Charles V of Spain and worked on his orders for more than twenty years. Titian spent the last years of his life in Venice, fulfilling, among others, numerous orders from Philip II of Spain. Until the end of his life (August 27, 1576), the artist continued to work with amazing creative ingenuity. Portrait of the Inquisitor Doge Andrea Gritti:

The early period of Titian's work is the subject of scholarly debate. It is difficult to differentiate the works of Bellini, Giorgione and Titian in the first years of the 16th century. By 1510, Titian had adopted Giorgione's painting style. The ideal of earthly, bodily beauty and the master’s love for playing with various textures were embodied in the painting Earthly and Heavenly Love (Rome, Borghese Gallery). Works of Titian: Works of Titian:

In the 1530s, Titian created canvases that were perfect in terms of painting technique. The painting Entry of Mary into the Temple (1534–1538, Venice, Accademia Gallery) for Scuola della Carita is a bright, festive image in which architecture seems to form a frame for numerous portrait images. This work evokes city views and images of Venetian festivals by Carpaccio and Gentile Bellini and foreshadows scenes of Veronese's feasts. Saint Mary Magdalene:

Titian's painting Venus of Urbino can be compared with Giorgione's Venus: in Titian the goddess is depicted awakened, she is reclining on her bed in an exquisitely decorated room. The beautiful woman is presented as majestic, full of self-esteem, but her image no longer evokes a sense of mystery, as in Giorgione’s painting. Venus of Urbino (1538):

The Crowning of Christ with a Crown of Thorns (1542): In the Parisian version of the Crowning with a Crown of Thorns (Louvre), he uses sharp diagonal formations and closely grouped figures to convey the emotional tension, and through it, the strength of Christ's physical suffering. In the Parisian version of The Crowning of Thorns (Louvre), he uses sharp diagonal formations and closely grouped figures to convey the emotional tension, and through it, the force of Christ's physical suffering.

Portrait of Pope Paul III (gg.):. The unfinished Portrait of Pope Paul III with Alessandro and Ottavio Farnese (1546, Naples, National Museum and Gallery of Capodimonte) shows a frail but cunning old man who is being deceived by two-faced, helpful relatives.. The unfinished Portrait of Pope Paul III with Alessandro and Ottavio Farnese (1546 , Naples, National Museum and Gallery of Capodimonte) presents a weak but cunning old man, whom two-faced, helpful relatives are trying to deceive.

Adam and Eve (1550): Adam and Eve (1550): By the end of the 1550s, new features appeared in the artist’s works, which together formed the phenomenon that was called the “late style of Titian.” He is characterized by working with more liquid colors and sonorous colors, as if smoldering from within, subordinate to the play of light. The method of applying dense layers of paint with sharp, intermittent strokes, the mixing of which takes on certain forms only when viewed from a sufficient distance, determined the interest of many artists of the 19th and 20th centuries. to the master's work. By the end of the 1550s, new features appeared in the artist’s works, which together formed the phenomenon that was called the “late style of Titian.” He is characterized by working with more liquid colors and sonorous colors, as if smoldering from within, subordinate to the play of light. The method of applying dense layers of paint with sharp, intermittent strokes, the mixing of which takes on certain forms only when viewed from a sufficient distance, determined the interest of many artists of the 19th and 20th centuries. to the master's work.

The Rape of Europa (gg.): The embodiment of the late style is the painting The Rape of Europa, where not only human figures, but also the landscape look alive and moving.

Ascension of Jesus Christ (years): Ascension of Jesus Christ (years):

Carrying the cross by Christ (years):

Late Renaissance

Giorgione,

The main role in Giorgione’s work is played by color with a variety of tones and their soft tints. Giorgione is considered the founder of easel painting. His style influenced the painting of the Venetian school and was developed by his student Titian.

"Sleeping Venus" 1507

Whom contemporaries called

“the painter of kings and the king of painters” and why?

Titian Vecellio

(1476/77–1576)

At the core coloring Titian

Golden color scheme, which is based on subtle shades of flowers.

"Venus of Urbino", 1538

"Penitent Mary Magdalene"

COLORIT – harmony of different colors of a painting.

"Portrait of Charles V"

Mannerism (from maniera - technique, manner), a movement that reflected the crisis of Renaissance humanistic ideals.

The masters of mannerism sought not so much to follow nature, but to express the “inner idea” of the image born in the artist’s soul.

• dynamic composition,
• emphasized expression of decor,
• desire for stage effects.

Mannerism predetermined the birth of the Baroque style.

Jacopo Tintoretto

Paolo Veronese

Andrea Palladio

Italian

architect

era of the Late Renaissance, laid down the principles of architecture that were developed in the architecture of European classicism of the 17th–18th centuries.

The ability to harmoniously connect architecture with the surrounding landscape with a special

forcefully manifested itself in Palladio's villas, permeated with a sense of dissolution in nature, marked by classical clarity of forms and overall composition

Capra or "Rotunda" near Vicenza;

Barbaro-Volpi in Masera near Treviso, 1560–1570.

The most famous Villa "Rotunda"– the first central dome

building for secular purposes.