Presentation on the topic "Renaissance in Venice". Lesson summary of the MHC "Venetian School of Painting"


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Text content of presentation slides: Venetian school of paintingGiovanni Bellini (Giovanni Bellini) (circa 1430–1516), the second son of Jacopo Bellini, is the greatest artist of the Venetian school, who laid the foundations of art 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 Venetian Republic. 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 St. Job At the foot of the high throne, on which the Madonna and Child solemnly sits, blessing those who came to bow to her, there are musical angels (Saint Job was considered one of the patrons of music). The figures are life-size. Bellini placed two naked saints, Jobbe and Sebastian, on the flanks of the throne of Mary, next to them - the 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 read: "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. full name- Giorgio Barbarelli da Castelfranco, after the name of a small town near Venice. He was a student of Giovanni Bellini. He was the first Italian painter in religious, mythological and historical paintings to introduce the landscape, the beautiful and poetic Judith Judith, or Judith (Hebrew יהודית‏‎‎‎ - Yehudit, female version name of Judah, “praise to Jehovah”) is a character in the Old Testament deuterocanonical “Book of Judith”, a Jewish widow who saved her hometown from the Assyrian invasion. After the Assyrian troops besieged her hometown, she dressed up and went to the camp of enemies, where she attracted the attention of the commander . When he got drunk and fell asleep, she cut off his head, and brought it to her native city, which thus turned out to be saved. Surprisingly chaste, despite her nakedness, "Sleeping Venus" is in the fullest sense an allegory, symbolically Nature. Thunderstorm. The main character of this picture is a thunderstorm. The artist took the background to the brilliance of a lightning-like arrow, which, like a snake, flashed in the air. Immediately to the right and left, the foreground displays the female and male figures. The woman is feeding the child. She has almost no clothes on. The picture is full of variety. Wildlife makes itself felt everywhere http://opisanie-kartin.com/opisanie-kartiny-dzhordzhone-g TitianTitian "Self-Portrait" (circa 1567) Titian Vecellio is an Italian Renaissance painter. He painted pictures 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 a 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. The first works of Titian, performed jointly with Giorgione, were frescoes in the Fondaco dei Tedeschi, of which only fragments have survived. Love Earthly and Heavenly The plot of the picture still causes controversy among art historians. According to the 19th-century Viennese art historian Franz Wickhoff, the scene depicts the meeting of Venus and Medea, whom the goddess persuades to help Jason. According to another version, the plot was borrowed from Francesco Colonna's book Hypnerotomachia Poliphila, which was popular at the time. Against the backdrop of a sunset landscape, a richly dressed Venetian woman is sitting at the source, holding a mandolin with her left hand and naked Venus holding a bowl of fire. According to S. Zuffi, a dressed girl personifies love in marriage; marriage is indicated by the color of her dress (white), the belt, gloves on her hands, the myrtle wreath crowning her head, loose hair and roses. A pair of rabbits is depicted in the background - a wish for a 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 comes out of the thicket with his large retinue and rushes to Ariadne, who is frightened of him. In this compositionally complex scene, all the characters and their actions are explained by ancient texts. The retinue of Bacchus performs its rituals: one satyr demonstrates how snakes wrap around him, another swings a calf's leg, and a baby satyr drags an animal's head behind him. Penitent Mary MagdaleneTiziano Vecellio painted his work "Penitent Mary Magdalene" to order in the 60s of the 16th century. The model of the painting was Giulia Festina, who struck the artist with a 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, painted 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 by order of Emperor Diocletian for refusing to worship pagan idols. Sebastian's powerful body is the embodiment of strength and defiance, his gaze expresses not physical torment, but a proud challenge to the tormentors. Titian achieved a unique effect of shimmering color not only with the help of a color palette, but also using the texture of paints, the relief of strokes “Behold the Man” This painting is considered Titian's masterpiece. It is written on the gospel story, but the artist skillfully transfers the gospel events to reality. Pilate stands on the steps of the stairs and, with the words “this is a man,” betrays Christ to be torn apart by the crowd, in which there are warriors and young men of a noble family, horsemen and even women with children. And only one person is aware of the horror of what is happening - the young man in the lower left corner of the picture. But he is nobody before those who have power over Christ at this 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 was nicknamed Tintoretto (little dyer) by the profession of his father, a former dyer (tintore). Early discovered the ability to paint. 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 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 artfully depict earthly and divine details. The plot 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 sinks into twilight and seems limitless thanks to a 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 painter Badile, and worked in Verona and Mantua. In 1553, Veronese was 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 visits Rome, where he paints 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 court of the Inquisition, but managed to justify himself and was only forced to correct and exclude some figures in one of his paintings Lamentation of Christ. He made the composition concise and simple, which increased the expressiveness of its three figures: the dead Christ, the Mother of God bent over him and an angel. Soft, muted colors are combined in a beautiful range of greenish, lilac-cherry, gray-white tones, softly shimmering in the lights and, as it were, fading in the shadows. 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 with a copy of the work of Alessandro Varotari (Padovanino).

Tiziano Vecellio 1476/77 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 by Titian dating back to the early 1510s. ("Christ and the Sinner", "Christ and the Magdalene", "Gypsy Madonna", etc.), show closeness to the art of Giorgione, whose unfinished paintings he was finishing at that time. contemplation, subtle coloring.
By the mid-1510s, after a careful study of the works of Raphael and Michelangelo, Titian develops an independent style. His images during this period are calm and joyful, marked by vital plethora, brightness of feelings, the seal of inner enlightenment.
Late 1530s-1540s - the heyday of the portrait art of Titian. With amazing perspicacity, the artist portrayed his contemporaries, capturing the most diverse, sometimes contradictory features of their characters. Among the best portraits of Titian are "Ippolito 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 Mühl Berg
Pietro Aretino (1545)
The color 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, blue-steel, pink-red, faded green.
life-affirming beauty human body became the leading motif of the artist’s works with scenes drawn from ancient mythology (“Danae”, around 1554, Prado, Madrid and the Hermitage, St. Petersburg; “Venus in front of a mirror”, 1550s, National Gallery of Art, Washington; “Diana and Actaeon”, 1556, and "Diana and Callisto", 1556-1559, both paintings in National Gallery Scotland in Edinburgh)
The artist's style of writing becomes exceptionally free, composition, form 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 places expose the grainy texture of the canvas.
In the 1550s, the nature of Titian's work changes, the dramatic beginning grows in his religious compositions (“The Martyrdom of St. Lawrence”, “The Entombment”). At the same time, he again turns to the mythological theme, the motif of a blooming female beauty(“Sisyphus”, “Danaë”, “Venus and Adonis”, “Perseus and Andromeda”).
“Saint Sebastian”, 1565-1570, Hermitage


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VENICE SCHOOL OF PAINTING

Teacher: Kaigorodova Natalya Evgenievna


What does "Venetian school" mean?

Venice was one of the leading centers of Italian culture. It is considered one of the main Italian schools of painting. The heyday of the Venetian school is attributed to the XV-XVI centuries. The "Pearl of the Adriatic" - a quaintly picturesque city with canals and marble palaces, spread over 119 islands in the waters of the Gulf of Venice - was the capital of a powerful trading republic. This became the basis for the prosperity and political influence of Venice, which included in its possessions part of Northern Italy, the Adriatic coast of the Balkan Peninsula, overseas territories. It was one of the leading centers of Italian culture, printing, and humanistic education.


Artistic principles

Many Italian artists worked in Venice, united by common artistic principles.

These principles are: bright color schemes

possession of plastic oil painting

the ability to see the life-affirming meaning of nature and life itself in its most wonderful manifestations.

The Venetians were characterized by a taste for everything unique, emotional richness of perception, admiration for the physical, material diversity of the world. At a time when fragmented Italy was torn apart by strife, Venice prospered and quietly floated on the smooth surface of the waters and living space, as if not noticing the whole complexity of life or not thinking about it especially, in contrast to the High Renaissance, whose creativity was fed by thoughts and complex searches.


Venice gave the world such wonderful masters as Giovanni Bellini and Carpaccio, Giorgione and Titian, Veronese and Tintoretto… Their work enriched European art such significant artistic discoveries that later artists from Rubens and Velazquez to Surikov constantly turned to Venetian Renaissance painting.

Giovanni Bellini. "Sacred Allegory". Butter. 1490.


Venice is associated with the highest flowering for Italy of such purely secular genres as portrait, historical and mythological picture, landscape, rural scene .

Portrait of a young knight in a landscape. 1510. Madrid, Thyssen-Bornemisza Museum

Paolo Veronese


The most important discovery of the Venetians was the coloristic and pictorial principles developed by them. Among the others Italian artists there were many excellent colorists, endowed with a sense of the beauty of color, the harmonious harmony of colors.

But the basis of the pictorial language was drawing and chiaroscuro, which clearly and completely modeled the form. Color was understood rather as the outer shell of the form, not without reason, applying colorful strokes, the artists fused them into a perfectly smooth, enamel surface. This style was also loved by Dutch artists, who were the first to master the technique of oil painting.


Jacopo Bellini

Features of Venetian painting took shape over a long, almost one and a half century, path of development. The founder of the Renaissance school of painting in Venice was Jacopo Bellini, the first of the Venetians who turned to the achievements of the most advanced Florentine school at that time, the study antiquity and principles linear perspective .

The main part of his heritage consists of two albums of drawings with the development of compositions for complex multi-figured scenes on religious themes. These drawings, intended for the artist's studio, already show through character traits Venetian school. They are imbued with the spirit of gossip, interest not only in the legendary event, but also in the real life environment.

Nativity


Gentile Bellini

The successor of Jacopo's work was his eldest son Gentile Bellini, the largest master of historical painting in Venice of the 15th century. On his monumental canvases, Venice appears before us in all the splendor of its bizarrely picturesque appearance, at the moments of festivities and solemn ceremonies, with crowded magnificent processions and a motley crowd of spectators crowding on narrow embankments of canals and humpbacked bridges.

Portrait of Sultan Mehmed II. (1480, oil on canvas).


The historical compositions of Gentile Bellini influenced the work of his younger brother Vittore Carpaccio, who created several cycles of monumental paintings for the Venetian brotherhoods - Scuol. The most remarkable of them is the History of St. Ursula" and "A Scene from the Life of Saints Jerome, George and Typhon".

Gentile Bellini- Procession in St. Mark's Square (Galleria dell...


Dream of St. Ursula. 1495.

Academy Gallery. Venice


Titian (1488/1490-1576)

Titian Vecellio is an Italian Renaissance painter. He painted pictures on biblical and mythological subjects, as well as portraits. Already at the age of 30 he was known as the best painter in Venice. Titian was born into the family of the statesman and military leader Gregorio Vecellio. The exact date of his birth is unknown.

Titian "Self-portrait" (circa 1567)


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 style of that time is very similar to the style of Giorgione, he even completed paintings for him that remained unfinished (Giorgione died young from the plague that raged in Venice at that time).

Famous paintings of that time: "Gypsy Madonna" (circa 1511), "Earthly Love and Heavenly Love" (1514), "Woman with a Mirror"

"Gypsy Madonna"


Titian's brush belongs to a lot portraits of women and pictures of Madonnas. They are full of vitality, brightness of feelings and calm joy. The colors are clean and full of color.

Titian. "Portrait of Lavinia's daughter". Butter. Late 1550s.


Titian "Love earthly and heavenly." Oil on canvas, 118x279 cm. Boghese Gallery, Rome

This painting was commissioned by Niccolò Aurelio, Secretary of the Council of Ten of the Venetian Republic, as his wedding gift to his bride. The modern name of the painting began to be used 200 years later, and before that it had various names. There is no consensus among art critics about the plot. Against the backdrop of a sunset landscape, a richly dressed Venetian woman is sitting at the source, holding a mandolin with her left hand, and a naked Venus holding a bowl of fire. Winged cupid plays with water. Everything in this picture is subject to the feeling of all-conquering love and beauty.


Titian's style developed gradually as he studied the works of the great Renaissance masters Raphael and Michelangelo. His portrait art reaches its peak: he was very perspicacious and able to see and portray the contradictory traits of people's characters: confidence, pride and dignity, combined with suspicion, hypocrisy and deceit. He knew how to find the right compositional solution, pose, facial expression, movement, gesture. He created many paintings on biblical subjects.

penitent Maria Magdalene .


Titian "Behold the Man" (1543). Canvas, oil. 242x361 cm Kunsthistorisches Museum, Vienna

This painting is considered Titian's masterpiece. It is written on the gospel story, but the artist skillfully transfers the gospel events to reality. Pilate stands on the steps of the stairs and, with the words “this is a man,” betrays Christ to be torn apart by the crowd, in which there are warriors and young men of a noble family, horsemen and even women with children. And only one person is aware of the horror of what is happening - the young man in the lower left corner of the picture. But he is nobody before those who have power over Christ at this moment...



In 1575, an epidemic of plague begins in Venice. Titian, infected by his son, dies on August 27, 1576. He was found dead on the floor with a brush in his hand.

The law required the bodies of those who died of the plague to be burned, but Titian was buried in the Venetian Cathedral of Santa Maria Gloriosa dei Frari.

On his grave are the words: "Here lies the great Titian Vecelli - rival of Zeus and Apelles"

Titian "Pieta" (1575-1576). Canvas, oil. 389x351 cm Academy Gallery, Venice


Giorgione da Castelfranco

Giorgione da Castelfranco lived a short life. He died at the age of thirty-three during one of the frequent plagues of that time. His legacy is small in scope: some of Giorgione's paintings, which remained unfinished, were completed by a younger comrade and assistant in the workshop, Titian. However, the few paintings by Giorgione were to be a revelation to contemporaries. This is the first artist in Italy, whose secular themes decisively prevailed over the religious, determined the whole system of creativity. He created a new, deeply poetic image of the world, unusual for the Italian art of that time, with its inclination towards grandiose grandeur, monumentality, heroic intonations. In Giorgione's paintings, we see an idyllic, beautiful and simple world, full of thoughtful silence.


Giorgione (1476/1477-1510) Giorgione "Self-portrait" (1500-1510)

The art of Giorgione was a real revolution in Venetian painting, had a huge impact on contemporaries, including Titian


This image is not typical for a Renaissance portrait: the gaze of the model in the portraits of that era is usually directed directly, giving rise to a feeling of contact with the viewer. The young man looks to the side, this creates a special, melancholy atmosphere and interaction not on a rational, but on an emotional level. In this work, individual traits were successfully combined with the image of the ideal man of the Renaissance.

The soft outlines of the contours indicate that Giorgione was familiar with the sfumato technique developed by Leonardo da Vinci.

Examination of the painting in X-rays showed that initially the young man was looking at the landscape that serves as the background of the painting.

Portrait of a young man. OK. 1510



Judith

Adoration of the shepherds


The last, final period of the Venetian Renaissance is associated with the work of Veronese and Tintoretto.

P. Veronese. Paintings of the plafond of the hall of Olympus. Fresco. Around 1565

Venus and Adonis


Paolo Veronese was endowed with a heightened sense of beauty and a real love for life. On huge canvases, shining with precious colors, solved in an exquisite silvery tonality, against the backdrop of magnificent architecture, we see a colorful crowd striking with vital brightness - patricians and noble ladies in magnificent robes, soldiers and commoners, musicians, servants, dwarfs.

The picture was painted in 1562-1563. for the refectory of the monastery of San Giorgio Maggiore.



Jacopo Tintoretto

The last great master of Venice in the 16th century, Jacopo Tintoretto. A complex and rebellious nature, a seeker of new paths in art, who acutely and painfully felt the dramatic conflicts of modern reality. Tintoretto introduces a personal, and often subjective-arbitrary, beginning into its interpretation, subordinating human figures to some unknown forces that scatter and circle them. By accelerating the perspective contraction, he creates the illusion of a rapid run of space, choosing unusual points of view and whimsically changing the outlines of the figures. Simple, everyday scenes are transformed by the invasion of surreal fantastic light. At the same time, the world retains its grandeur, full of echoes of great human dramas, clashes of passions and characters.


The greatest creative feat of Tintoretto was the creation of an extensive, consisting of more than twenty large wall panels and many plafond compositions, a pictorial cycle in Scuola di San Rocco, on which the artist worked for almost a quarter of a century - from 1564 to 1587.

According to the inexhaustible richness of artistic fantasy, according to the breadth of the world, accommodating both universal tragedy (“Golgotha”), and a miracle that transforms a poor shepherd’s hut (“The Nativity of Christ”), and the mysterious grandeur of nature (“Mary Magdalene in the Desert” ), and high feats of the human spirit (“Christ before Pilate”), this cycle is unparalleled in the art of Italy. Like a majestic and tragic symphony, it completes, together with other works of Tintoretto, the history of the Venetian Renaissance school of painting.




Homework.

Perform an analysis of a painting by Titian, Tintoretto or Veronese. (optionally)

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The unique natural conditions largely determined characteristics Venetian architecture. The city, located on 118 islands, is divided by 160 channels, through which about 400 bridges are thrown. Most of the buildings here are built on piles, the houses are closely pressed against each other.

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In the volume of a wonderful panorama
Floating palaces and temples
As if at anchor of the court,
As if they are waiting for the wind to be fair
Raise their sails!
Looks thoughtfully and vaguely
Palaces venerable beauty!
On their walls centuries of handwriting,
But there is no price for their charms,
When their sketch is drawn
Under the white glow of the moon.
Cutter to these gloomy strongholds
Gave softness, bulge and edge,
And like transparent lace
Through their stone fabric.
How mysterious, how strange
In this realm of wondrous beauty:
Falls on everything all the time
The shadow of a poetic dream...

P.A. Vyazemsky. "Photography of Venice"

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Starring famous architect Jacopo Sansovino (1486-1570), a student of Bramante, completed the formation of the city. He built here the building of the new library of San Marco. The two-story building with an openwork facade was decorated with antique order arcades. On the first floor, behind the gallery, there were commercial premises, and on the second floor, the library itself. Large arches, sculptural decorations, reliefs on the friezes - all this gives the building a special elegance and festivity.

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Jacopo Sansovino.

Library of San Marco. 1536 Venice

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Jacopo Sansovino Library of San Marco 1536 Venice.

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Andrey Palladio.Villa "Rotonda". 1551-1567

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    Andrea Palladio (1508-1580), whose style is distinguished by perfection in the construction of ancient orders, natural completeness and strict orderliness of compositions, clarity and expediency of planning, and the connection of architectural structures with the surrounding nature, became the largest architect of Venice.

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    Doge's Palace in Venice

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    Doge's Palace in Venice

    The palace housed not only the home quarters of the head of the Doge city. But also the city and courtrooms, the prison. As well as the giant Hall del Maggiorio Consiglio - the residence of the elected people's representatives of the Venetian Parliament.

    The openwork ornament in the form of a lattice gives the impression of an oriental one, but the opening of the facade by means of arcades already had a long tradition in Venice, which reached its peak in the construction of late Gothic palaces.

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    Ka d, Oro. Venice. 1421-1440

    "Golden House" - this is how Ca d'Oro is translated - one of the oldest buildings in Venice. It was built by order of Mariino Contarini, the prosecutor of the Cathedral of San Marco. Its name arose because the original ornament and sculptural decorations were gilded. The impression was even more intensified by the fact that the house shining with blue and red colors was reflected in the waters of the canal.

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    Giovanni Bellini (c. 1430-1516)

    The founder of the Venetian school of painting is considered to be Giovanni Bellini (c. 1430-1516), whose style is distinguished by refined nobility and radiant color. He created many paintings depicting Madonnas, simple and serious, a little thoughtful and always sad. He owns a number of portraits of contemporaries - eminent citizens of Venice, who dreamed of seeing themselves captured on the canvases of the great master.

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    Look at the extremely expressive features of Doge Leonardo Loredano - the head of the government of the Venetian Republic. Concentrated and calm, the doge is depicted with the smallest details - from deep wrinkles on an old face to rich brocade of clothes. Thin facial features, tightly compressed lips betray the isolation of his nature. The cold tones of the ceremonial vestments stand out clearly against the azure background. The artist skillfully managed to embody the features of a man who went down in history as a persecutor of science and education.

    • Giovanni Bellini.
    • Portrait of Doge Leonardo Loredano. 1501
    • National Gallery, London

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    Bellini had many students to whom he generously passed on his rich creative experience. Among them, two artists stood out - Giorgione and Titian.

    The life of Giorgione (1476/1477-1510), shrouded in mystery, was short and bright. In skill, he competed with Leonardo himself. According to Vasari,

    “nature endowed him with a talent so light and happy, his coloring in oil and fresco was sometimes lively and bright, sometimes soft and even and so shaded in transitions from light; to the shadow that many of the then masters recognized in him an artist born in order to breathe life into the figures ... "

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    Giorgione. Judith. 1502

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    Beautiful and meek Judith is not at all warlike. Her gaze is turned to the earth, and in a humble pose there is not even a hint of cruelty and violence. On the contrary, she is perceived as the personification of the highest justice and mercy.

    Has the artist forgotten biblical story? The only thing that reminds of him is a terrible trophy, which Judith carefully tramples with his foot! We find it hard to believe that this woman could have committed such a brutal murder. Judith does not enjoy her victory, but closes her eyes and listens, slightly smiling at the corners of her lips. This spiritualized image has everything: tenderness and dignity, meekness and regret, inner strength and charm.

    The mood of the picture enhances the lyrical landscape. A gentle airy background, a barely pinkish morning sky, a powerful tree trunk cut off by the edge of the frame, carefully traced vegetation are designed to create an elegiac mood and draw attention to the psychological aspect of the biblical legend.

    Giorgione. Judith. 1502

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    The true masterpiece of Giorgione's work is "Sleeping Venus" - one of the most perfect female images the Renaissance. Venus, the ancient goddess of love and beauty, lies on a dark red blanket in the middle of a hilly meadow.

    Giorgione. Sleeping Venus. 1507"-1508

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    Giorgione. Sleeping Venus. 1507"-1508 Art Gallery, Dresden

    She sleeps peacefully. A special sublimity and chastity gives this image a picture of nature. Behind Venus, on the horizon, there is a spacious sky with white clouds, a low ridge of blue mountains, a gentle path leading to a hill overgrown with vegetation. A sheer cliff, a bizarre profile of the hill, echoing the outlines of the figure of the goddess, a group of seemingly uninhabited buildings, grasses and flowers in the meadow are carefully made by the artist. Looking at this picture, I want to repeat after A. S. Pushkin:

    Everything in it is harmony, everything is marvelous, Everything is higher than peace and passions. She rests bashfully In her solemn beauty.

    Impressed by the "Sleeping Venus" by Giorgione, artists of different generations - Titian and Durer, Poussin and Velasquez, Rembrandt and Rubens, Gauguin and Manet - created their works on this subject.

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    The Artistic World of Titian

    Spanish artist XVII in. Diego Velasquez wrote:

    “In Venice - all the perfection of beauty! I give first place to painting, whose standard-bearer is Titian.

    Titian lived a long (almost a century!) life (1477-1576) and won worldwide fame along with other titans of the High Renaissance. His contemporaries were Columbus and Copernicus, Shakespeare and Giordano Bruno. At the age of nine, he was sent to the workshop of a mosaicist, studied in Venice with Bellini, and later became Giorgione's assistant. The creative heritage of the artist, who had an ebullient temperament and amazing diligence, is extensive. Working in various genres, he managed to express the spirit and mood of his era.

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    Titian. Self-portrait. 1567-1568 Prado, Madrid

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    Who was Titian? Look at his self-portrait (1567-1568), made at the age of 90. We see a tall old man with large, manly features. He hunched slightly under the weight of dark, pleated clothing. A narrow strip of collar cuts like a beam into a lush silver beard. The black cap emphasizes the intensity of his strong profile. Fingers right hand gently squeeze a fragile brush. Undoubtedly, we have an active, creative nature, full of a thirst for life. The artist leaned forward, as if peering into the face of his interlocutor. Majestic and calm is the penetrating gaze of a man wise life experience. The black attire is rich and elegant, it harmoniously combines with the silver scale of the overall color.

    A great many studies have been written about Titian's mastery of color.

    Self-portrait. 67-1568 Prado, Madrid

    “In color, it has no equal ... it keeps pace with nature itself. In his paintings, color competes and plays with shadows, as it happens in nature itself ”(L. Dolce).

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    "Venus of Urbino"

    Venus of Urbino, 1538

    Gallery. Uffizi, Florence

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    "Venus of Urbino" is a true masterpiece of the artist. Contemporaries said about this picture that Titian, in contrast to Giorgione, under whose influence he certainly was, “opened the eyes of Venus and we saw the wet gaze of a woman in love, promising great happiness.” Indeed, he sang the radiant beauty of a woman, painting her in the interior of a rich Venetian house. In the background, two maids are busy with household chores: they are taking out toilets for their mistress from a large chest. At the feet of Venus, curled up, a small dog dozes. Everything is ordinary, simple and natural, and at the same time sublimely symbolic.

    Slide 29

    The face of a woman lying on a sleeping bed is beautiful. Proudly and calmly, she looks directly at the viewer, not at all embarrassed by her dazzling beauty. There are almost no shadows on her body, and the crumpled sheet only emphasizes the graceful harmony and warmth of her elastic body. The red fabric under the sheet, the red curtain, the red clothes of one of the maids, the carpets of the same color create a hot and quivering color.

    The picture is full of symbolism. Venus is the goddess of conjugal love, many details speak of this. A vase with myrtle on the window symbolizes constancy, a rose in Venus's hand is a sign of long love, and a dog curled up at her feet is a traditional symbol of fidelity.

    slide 30

    "Penitent Mary Magdalene"

    Titian's painting "Penitent Mary Magdalene" depicts a great sinner who once washed Christ's feet with tears and was generously forgiven by him. From then until the death of Jesus, Mary Magdalene did not leave him. She told people about his miraculous Resurrection. Putting aside the book of Holy Scripture, she earnestly prays, fixing her eyes to the sky. Her tear-stained face, waves of thick flowing hair, an expressive gesture of a beautiful hand pressed to her chest, simple clothes are painted by the artist with special care and skill. Nearby are a glass jar and a skull - a symbolic reminder of the transience of earthly life and death. The gloomy stormy sky, rocky mountains and trees swaying from the wind emphasize the drama of what is happening.

    Penitent Mary Magdalene. Around 1565 State Hermitage Museum, St. Petersburg

    Slide 31

    slide 32

    "Portrait of a young man with a glove" - ​​one of the best creations of Titian. The prevailing strict, dark tones are designed to enhance the feeling of anxiety and tension. The hands and face snatched out by the light allow you to take a closer look at the person being portrayed. Undoubtedly, we have before us a spiritualized personality, which is characterized by intelligence, nobility at the same time - the bitterness of doubts and disappointments. In the eyes of the young man, there is an anxious reflection on life, the mental confusion of a brave and resolute person. A tense look "into yourself" testifies to the tragic discord of the soul, to the painful search for one's "I".

    AT last years life, having perfectly mastered the elements of color, Titian worked in a special manner. Here is how one of his students described it:

    Slide 33

    Titian worked in a special manner. Here is how one of his students described it:

    “Titian covered his canvases with a colorful mass, as if serving ... as a foundation for what he wanted to express in the future. I myself saw such vigorously made underpaintings, filled with a thickly saturated brush either in a pure red tone, "which was intended to outline a halftone, or with white. With the same brush, dipping it in red, then black, then yellow paint, he developed a relief With the same great skill, with the help of only four colors, he called out of oblivion the promise of a beautiful figure ... He directed the last retouches light blows fingers, smoothing the transitions from the brightest highlights to midtones and rubbing one tone into another. Sometimes with the same finger he applied a thick shadow to any corner to strengthen this place ... By the end, he truly wrote more with his fingers than with a brush.

    slide 34

    Semenkova Natalya Stanislavovna

    MOU "Sosnovskaya secondary school"

    View all slides

    Lesson # Date

    Theme: Venetian school of painting. (MHK, grade 10)

    Purpose: Educational : to introduce students to representatives of the Venetian school of Renaissance painting.

    Developing: concentration of attention; develop skills of comparison and analysis. autonomy to work.

    Educational: develop a sense of beauty.

    Equipment: MMU, presentation, illustrations.

    Lesson type : combined

    During the classes

    1. Organizational moment.

    2. Actualization of basic knowledge.

    3. Motivation. Goal setting.

    4. Studying a new topic.

    What does "Venetian school" mean?

    The Venetian school of painting originated in the North of Italy - in Venice. The "Pearl of the Adriatic" - a quaintly picturesque city with canals and marble palaces, spread over 119 islands in the waters of the Gulf of Venice - was the capital of a powerful trading republic. This became the basis for the prosperity and political influence of Venice, which included in its possessions part of Northern Italy, the Adriatic coast of the Balkan Peninsula, overseas territories. Venice was one of the leading centers of Italian culture, printing, and humanistic education.

    It is considered one of the main Italian schools of painting, which has developed

    at the end of the 15th century. The heyday of the Venetian school is attributed to the XV-XVI centuries.

    Many Italian artists worked in Venice:

    - Giovanni Bellini and Carpaccio,

    - Giorgione and Titian,

    - Veronese and Tintoretto .

    Their work enriched European art with such significant artistic discoveries that later artists from Rubens and Velasquez to Surikov constantly turned to Venetian Renaissance painting:

    Venetian artistsnot interested in worldview issues they were artists.

    Venetians taste for everything unique, emotional richness of perception, admiration for the physical, material diversity of the world were characteristic.

    - Their works are picturesque, colorful, bright, expressive.

    At a time when fragmented Italy was torn apart by strife, Venice prospered and quietly floated on the smooth surface of the waters and living space, as if not noticing the whole complexity of life or not thinking about it especially, in contrast to the High Renaissance, whose creativity was fed by thoughts and complex searches.

    Venice is associated with the highest for Italythe heyday of such purely secular genres as portrait, historical and mythological painting, landscape, rural scene .

    The most important The discovery of the Venetians was the coloristic and pictorial principles developed by them. Among other Italian artists there were many excellent colorists, endowed with a sense of the beauty of color, the harmonious harmony of colors.

    But drawing and chiaroscuro remained the basis of the visual language , clearly and completely modeling the form. Color was understood rather as the outer shell of the form, not without reason,imposing colorful strokes, the artists fused them into a perfectly smooth, enamel surface. This style was also loved by Dutch artists, who were the first to master the technique of oil painting.

    - Paint becomes the basis of the pictorial language among the Venetians . They do not so much work out the forms graphically assculpt them with strokes - sometimes weightlessly transparent, sometimes dense and melting, penetrating with internal movement human figures, bends of folds of fabrics, reflections of sunset on dark evening clouds.

    The principles of the artists of the Venetian school of painting:

    Vibrant color schemes

    Possession of the plasticity of oil painting

    The ability to see the life-affirming meaning of nature and life itself in its most wonderful manifestations.

    Features of Venetian painting took shape over a long, almost one and a half century, path of development.

    Jacopo Bellini

    - the founder of the Renaissance school of painting in Venice, the first of the Venetians to turn to the achievements of the most advanced Florentine school at that time, the study of antiquity and the principles of linear perspective.

    The main part of his heritage consists of two albums of drawings with the development of compositions for complex multi-figured scenes on religious themes.. In these drawings, intended for the artist's studio, the characteristic features of the Venetian school are already showing through. They are imbued with the spirit of gossip, interest not only in the legendary event, but also in the real life environment.

    - Virgin and Child

    - "Christmas" Drawing. Paris, Louvre

    Gentile Bellini

    - Jacopo's successor, his eldest son, the largest master of historical painting in Venice of the 15th century .

    On his monumental canvases, Venice appears before us in all its splendor. its bizarrely picturesque appearance, at the moments of festivities and solemn ceremonies, with crowded magnificent processions and a motley crowd of spectators crowding along narrow canal embankments and humpbacked bridges.

    - "The Miracle of the Holy Cross in Piazza San Marco in Venice"

    The artist, who was extremely revered during his lifetime, was sent to the Sultan, who asked him to send a good portrait painter.

    - "Portrait of Sultan Mehmed II". (1480, oil on canvas).

    The artist was known for his Venetian portraits and full-length subject canvases. Most of the work was lost during a fire in.

    Vittore Carpaccio

    - younger brother of Gentile Bellini , created several cycles of monumental paintings for the Venetian brotherhoods - Scuol .

    The most remarkable of them:

    – "History of St. Ursula"

    - "A scene from the life of Saints Jerome, George and Typhon."

    Like Jacopo and Gentile Bellini,he liked to transfer the action of a religious legend and the atmosphere of his contemporary life , everything that happens is, as it were, filled with inner music, the melody of lines, the gliding of colorful spots, light and shadows, inspired by sincere and touching human feelings.

    - "The dream of St. Ursula" 1495. Gallery of the Academy. Venice

    Giovanni Bellini

    - the greatest of the Venetian painters of the 15th century , younger son Jacopo .

    The master was not fascinated by a detailed narrative, genre motifs .All the charm and poetic depth of his talent were revealed in compositions of a different kind - thismonumental altars depicting the Madonna enthroned surrounded by saints (the so-called “Holy Interviews”), or small paintings in which, against the backdrop of a quiet, clear nature, we see the Madonna and Child immersed in thought or other characters of religious legends.

    - "Sacred allegory" (Lake Madenna). Butter. 1490.

    In these laconic, simple compositions there is a happy fullness of life, lyrical concentration. The pictorial language of the artist is characterized by majestic generalization and harmonic order.Giovanni Bellini is far ahead of the masters of his generation, asserting new principles of artistic synthesis in Venetian art.

    Having lived to a ripe old age, he led the artistic life of Venice for many years, holding the position of official painter.The great Venetians Giorgione and Titian came out of Bellini's workshop.

    Titian (1476/77 or 1480s, Pieve di Cadore, Venice - 27.8.1576, Venice)

    Titian Vecellio – eminent master Venetian school of painting of the High and Late Renaissance. Titian is a central figure in the history of the Venetian school.

    Coming out of the workshop of Giovanni Bellini and collaborating with Giorgione in his youth, he inherited best traditions creativity of senior masters.In terms of the grandiosity of the worldview, the heroic activity of the images of Titian can only be compared with Michelangelo.

    - "Self-portrait" (circa 1567)

    Came from a noble provincial family - was born in 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.

    In ≈ 1500 - sent to study with a mosaic master, then studied painting with G. Bellini . He painted pictures on biblical and mythological subjects, as well as portraits.

    Already at the age of 30 he was known as the best painter in Venice. , served as the official painter of the Venetian Republic. His customers were emperors, kings, popes.

    Titian's style of that time is very similar to the style of Giorgione, he even finished painting for him, which remained unfinished (Giorgione died young from the plague raging in Venice at that time).They are related to the works of Giorgione by an interest in the landscape, a poetic design, features of lyrical contemplation, and subtle coloring.

    Famous paintings of that time:

    - "Gypsy Madonna" (circa 1511),

    - Earthly Love and Heavenly Love,

    - "Woman with a Mirror"

    - "Christ and the Sinner"

    - "Christ and Magdalene"

    Titian "Love earthly and heavenly." (1514) Oil on canvas, 118x279 cm. Boghese Gallery, Rome

    This painting was commissioned by Niccolò Aurelio, Secretary of the Council of Ten of the Venetian Republic, as his wedding gift to his bride.

    The modern name of the painting began to be used 200 years later, and before that it had various names.

    There is no consensus among art critics about the plot. Against the backdrop of a sunset landscape, a richly dressed Venetian woman is sitting at the source, holding a mandolin with her left hand, and a naked Venus holding a bowl of fire. Winged cupid plays with water. Everything in this picture is subject to the feeling of all-conquering love and beauty.

    By the mid-1510s ., after careful study of the works of Raphael and Michelangelo,Titian develops an independent style . His images during this period are calm and joyful, marked by vital plethora, brightness of feelings, the seal of inner enlightenment.

    Late 1530s-1540s - the heyday of the portrait art of Titian. The artist depicted his contemporaries with amazing perspicacity, capturing the most diverse, sometimes contradictory traits of their characters: confidence, pride and dignity, combined with suspicion, hypocrisy and deceit.He knew how to find the right compositional solution, pose, facial expression, movement, gestures ..

    Among the best portraits of Titian :

    – "Hippolito 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 Mühl Berg"

    Titian's brushes belong to many female portraits and images of Madonnas . They are full of vitality, brightness of feelings and calm joy, the colors are pure and filled with color:

    - "Portrait of Lavinia's daughter." Butter. Late 1550s

    - "Penitent Mary Magdalene"

    He created many paintings on biblical subjects.

    Titian "Behold the Man" (1543). Canvas, oil. 242x361 cm Kunsthistorisches Museum, Vienna

    This painting is considered a masterpiece by Titian. . It is written on the gospel story, but the artist skillfully transfers the gospel events to reality. Pilate stands on the steps of the stairs and, with the words “this is a man,” betrays Christ to be torn apart by the crowd, in which there are warriors and young men of a noble family, horsemen and even women with children. And only one person is aware of the horror of what is happening - the young man in the lower left corner of the picture. But he is nobody before those who have power over Christ at this moment...

    The life-affirming beauty of the human body has become the leading motiveworks of the artist with scenes drawn from ancient mythology :

    - “Danae”, about 1554, Prado, Madrid and the Hermitage, St. Petersburg ( Titian referred to the plot dedicated to the myth of at least five times);

    - “Venus in front of a 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

    - "Sisyphus"

    - “Perseus and Andromeda”

    - “Venus and Adonis”,

    In the 1550s, the nature of Titian's work changes , the dramatic beginning is growingin his religious compositions 6

    - “Martyrdom of Saint Lawrence”,

    - “The position in the coffin”

    - “Saint Sebastian”, 1565-1570, Hermitage

    Titian revealed the truly inexhaustible possibilities of color and paint .

    In his youth, he loved rich, enamel-clear colors, extracting powerful chords from their comparisons, and by the end of his lifedeveloped the famous "late manner" ( so new that it did not find understanding among most contemporaries):

    He applied paint to the canvas with a brush, a spatula, and his fingers.

    - the surface of his later canvases close up is a fantastic chaos of randomly applied strokes, but at a distance the color spots scattered over the surface merge, and appear before our eyes full of life human figures, buildings, landscapes

    - the color of the later works of Titian is based on the finest colorful chromatism : the color scheme, generally subordinate to the golden tone, is built on subtle shades of brown, blue-steel, pink-red, faded green.

    The last masterpieces of the artist include paintings:

    - "The Entombment" (1559),

    - "Annunciation" (about 1564-1566),

    - "Venus blindfolding Cupid" (circa 1560-1565),

    - "Carrying the Cross" (1560s),

    - "Tarquinius and Lucretia" (1569-1571),

    - "St. Sebastian" (circa 1570),

    - "Coronation with a crown of thorns" (about 1572-1576),

    - "Pieta"

    Titian "Pieta" (1575-1576). Canvas, oil. 389x351 cm Academy Gallery, Venice

    The painting depicts the Virgin Mary supporting the body of Christ with the help of the kneeling Nicodemus. To their left stands Mary Magdalene. These figures form a perfect triangle.The painting "Pieta" is considered latest work artist . It was completed by Giacomo Palma Jr. . It is assumed thatin the image of Nicodemus, Titian portrayed himself.

    1575 plague begins in Venice.Titian, infected by his son, dies on August 27, 1576. He was found dead on the floor with a brush in his hand. The law required the bodies of those who died of the plague to be burned, but Titian was buried in the Venetian Cathedral of Santa Maria Gloriosa dei Frari.

    The words are carved on his grave : "Here lies the great Titian Vecelli - the rival of Zeus and Apelles"

    Dynamic pause

    Giorgione da Castelfranco (Giorgione) (1476/1477-1510)

    The artist had a short life, he died at the age of 33 during one of the frequent plague epidemics at that time.

    His legacy is small in scope: some paintings by Giorgione left unfinished,were completed by a younger comrade and workshop assistant Titian.

    Giorgione "Self-portrait" (1500-1510)

    However, this is the first artist in Italy, whose secular subjects decisively prevailed over the religious, determined the whole structure of creativity.

    He created a new, deeply poetic image of the world, unusual for the Italian art of that time with its attraction to grandiose grandeur, monumentality, heroic intonations - before us appearsthe world is idyllic, beautiful and simple, full of thoughtful silence.

    The art of Giorgione was a real revolution in Venetian painting, had a huge impact on contemporaries, including Titian

    Giorgione "Portrait of a Young Man" c. 1510

    This image is not typical for a Renaissance portrait: the gaze of the model in the portraits of that era is usually directed directly, giving rise to a feeling of contact with the viewer. The young man looks to the side, this creates a special, melancholy atmosphere and interaction not on a rational, but on an emotional level.In this work, individual traits were successfully combined with the image of the ideal man of the Renaissance.

    Softened outlines of the contours indicate thatGiorgione was familiar with the sfumato technique developed by Leonardo da Vinci. .

    Examination of the painting in X-rays showed that initially the young man was looking at the landscape that serves as the background of the painting.

    Artist's paintings:

    - "Sleeping Venus"

    - "Judith"

    - "Adoration of the Shepherds"

    The last, final period of the Venetian Renaissance is associated with the work of Veronese and Tintoretto.

    Paolo Veronese

    - was endowed with a heightened sense of beauty and true love for life . On huge canvases, shining with precious colors, solved in an exquisite silvery tonality, against the backdrop of magnificent architecture, we see a colorful crowd striking with vital brightness - patricians and noble ladies in magnificent robes, soldiers and commoners, musicians, servants, dwarfs.

    The artist especially loves the theme of feasts , turning modest evangelical meals into magnificent festive spectacles:

    - Marriage at Cana

    - "Feast in the House of Levi"

    The vitality of Veronese's images is such thatSurikov called one of his paintings "kind pushed behind the frame." But this is nature, cleansed of every touch of everyday life, endowed with Renaissance significance, ennobled by the splendor of the artist's palette, the decorative beauty of rhythm.

    Unlike Titian, Veronese worked a lot in the field of monumental and decorative painting and was an outstanding Venetian decorator of the Renaissance:

    - Paintings on the ceiling of the hall of Olympus. Fresco. Around 1565

    P. Veronese. "The family of Darius before Alexander the Great". Butter. About 1570.

    The picture was painted in 1562-1563. for the refectory of the monastery of San Giorgio Maggiore.

    Artist's paintings:

    - "Venus and Adonis"

    Jacopo Tintoretto

    The last great master of Venice of the 16th century, a complex and rebellious nature, a seeker of new ways in art, who acutely and painfully felt the dramatic conflicts of modern reality. By accelerating the perspective contraction, he creates the illusion of a rapid run of space, choosing unusual points of view and whimsically changing the outlines of the figures.Simple, everyday scenes are transformed by the intrusion of fantastic light.

    The greatest creative feat of Tintoretto was the creation of an extensive, consisting of more than twenty large wall panels and many plafond compositions, a pictorial cycle in Scuola di San Rocco, on which the artist worked for almost a quarter of a century - from 1564 to 1587.

    According to the inexhaustible richness of artistic fantasy, according to the breadth of coverage of the world, accommodating a tragedy that is universal in scale("Calvary ”), and a miracle that transforms a poor shepherd’s hut("The Nativity of Christ ”), and the mysterious grandeur of nature("Mary Magdalene in the Wilderness"), and lofty exploits of the human spirit (“Christ before Pilate”), this cycle is unparalleled in the art of Italy. Like a majestic and tragic symphony, it completes, together with other works of Tintoretto, the history of the Venetian Renaissance school of painting.

    - "Christ Before Pilate"

    - Adoration of the Shepherds. Butter. 1578–1581

    5. Consolidation of the studied material.

    6. Summing up. Grading.

    7. Reflection.

    8. Homework

    Perform an analysis of a painting by Titian, Tintoretto or Veronese. (optionally)

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