Venetian Renaissance

Front 1

Back 1

Bellini, S. Zaccaria Altarpiece, 1505, Venetian Renaissance
-figures about life size
-the perspective, deep space make it renaissance
-side space
-focused on central scene by architectural elements
-pyramidal composition
-framed with the same architecture as the church itself

Front 2

Back 2

Giorgione, Pastoral Symphony, 1508, Venetian Renaissance
-Leonardo influence
-atmospheric perspective
-outdoor seting
-much more pronounced sfumato
-earthy tones
-less precise more real and earthly
-weighty figures
- venetian artist set figures out in landscape because they didn’t have any

Front 3

Back 3

Titian, Madonna of the Pesaro Family, 1519-26, Venetian Renaissance
-sacred conversation
-more contrast in the lighting
-turns the viewer away from a frontal approach
-we are lower than where the steps are
-memento mori for jesus
-bittersweet
-painting mimics the viewer’s approach to the work itself
-influnces from Montaigne

Front 4

Back 4

Titian, Venus of Urbino, 1538, Venetial Renaissance
-reclining nude
-his mistress as Venus
-for a male viewer
-renaissance porn
-sleeping dog – fidelity is not watching

Front 5

Back 5

Tintoretto, Last Supper, 1594, Venetian Mannerist
-we are put above the scene
-the last supper has a totally different tone
-swirling, full of life and movement
-very supernatural feel to it
-super otherworldly
-very full of emotion
- dark, spooky space
-exaggerated, not stable, looks like its in a tavern

Front 6

Back 6

Palladio, Villa Rotunda, 1566-70, Venetian Mannerist
-reads all of Vitruvius’s manuscripts
-knows his classical architecture very very well
-countryside
-4 entrances with 4 narthexes, very grand
-pediment
-deep staircase
-understood architecture well and plays with the classical elements while exaggerating them
-not practical at all
-overdone but still classical