Giorgione - Wikipedia

Giorgione - Wikipedia
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Italian painter (1470s–1510)
In this
Renaissance Italian
name, the name
Castelfranco
is an indicator of birthplace or
paternity
, not a
family name
Giorgione
Possible
self-portrait
as
David
c.
1508–10
Born
Giorgio Barbarelli
1477–78 or 1473–74
Castelfranco Veneto
Republic of Venice
(present-day
Veneto
, Italy)
Died
1510-09-17
17 September 1510 (aged 31–37)
Venice
, Republic of Venice
(present-day Veneto, Italy)
Education
Giovanni Bellini
Known for
Painting
Notable work
The Tempest
Sleeping Venus
Castelfranco Madonna
The Three Philosophers
Movement
High Renaissance
Venetian school
Giorgio Barbarelli da Castelfranco
(1470s
– 17 September 1510),
known as
Giorgione
was an Italian painter of the
Venetian school
during the
High Renaissance
, who died in his thirties. He is known for the elusive poetic quality of his work, though only about six surviving paintings are firmly attributed to him.
The uncertainty surrounding the identity and meaning of his work has made Giorgione one of the most mysterious figures in European art.
Together with his younger contemporary
Titian
, he founded the Venetian school of
Italian Renaissance painting
, characterised by its use of colour and mood. The school is traditionally contrasted with
Florentine painting
, which relied on a more linear
disegno
-led style.
Life
edit
What little is known of Giorgione's life is given in
Giorgio Vasari
's
Lives of the Most Excellent Painters, Sculptors, and Architects
. He came from the small town of
Castelfranco Veneto
, 40 km inland from Venice. His name sometimes appears as
Zorzo
; the variant
Giorgione
(or
Zorzon
) may be translated "Big George". It is unclear how early in boyhood he went to Venice, but stylistic evidence supports the statement of
Carlo Ridolfi
that he served his apprenticeship there under
Giovanni Bellini
; there he settled and rose to prominence as a master.
Contemporary documents record that his talent was recognized early. In 1500, when he was in his twenties, he was chosen to paint portraits of the
Doge
Agostino Barbarigo
and the
condottiere
Consalvo Ferrante. In 1504, he was commissioned to paint an altarpiece in memory of another condottiere, Matteo Costanzo, in the cathedral of his native town, Castelfranco. In 1507, he received, at the order of the
Council of Ten
, partial payment for a picture (subject unknown) in which he was engaged for the Hall of the Audience in the
Doge's Palace
. From 1507 to 1508 he was employed, with other artists of his generation, to decorate with frescoes the exterior of the newly rebuilt
Fondaco dei Tedeschi
(or German Merchants' Hall) at Venice, having already done similar work on the exterior of the Casa Soranzo, the Casa Grimani alli Servi and other Venetian palaces. Very little of this work now survives.
Laura
(1506),
Kunsthistorisches Museum
Vienna
, Austria
Vasari mentions his meeting with
Leonardo da Vinci
on the occasion of the Tuscan master's visit to Venice in 1500. All accounts agree in representing Giorgione as a person of distinguished and romantic charm, a great lover and a musician, given to express in his art the sensuous and imaginative grace, touched with poetic melancholy, of Venetian life of his time. They represent him further as having made in Venetian painting an advance analogous to that made in Tuscan painting by Leonardo more than twenty years before.
He was very closely associated with
Titian
; although Vasari says that Titian was Giorgione's disciple, Ridolfi says that they both were pupils of
Giovanni Bellini
and lived together in his home.
They worked together on the Fondaco dei Tedeschi frescoes, and Titian finished at least some paintings of Giorgione after his death, although which ones remains controversial.
Giorgione also introduced a new range of subjects. Besides
altarpieces
and portraits he painted pictures that told no story, whether biblical or classical, or if they professed to tell a story, neglected the action and simply embodied in form and color moods of lyrical or romantic feeling, much as a musician might embody them in sounds. Innovating with the courage and felicity of genius, he had for a time an overwhelming influence on his contemporaries and immediate successors in the Venetian school, including
Titian
Sebastiano del Piombo
Palma il Vecchio
il Cariani
Giulio Campagnola
(and his brother), and even on his already eminent master, Giovanni Bellini. In the Venetian mainland,
Giorgionismo
strongly influenced
Morto da Feltre
Domenico Capriolo
, and
Domenico Mancini
Giorgione died of the
plague
then raging, on the 17th of September, 1510.
He was usually thought to have died and been buried on the island of
Poveglia
in the Venetian lagoon,
10
11
12
13
but an archival document published for the first time in 2011 places his death on the island of Lazzareto Nuovo; both were used as places of
quarantine
in times of plague.
14
In October 1510
Isabella d'Este
wrote a letter to a Venetian friend, asking him to buy a painting by Giorgione; the text of the letter shows she was aware he was already dead. Significantly, the reply a month later said the painting was not to be had at any price.
His name and work continue to exercise a spell on posterity. But to identify and define, among the relics of his age and school, precisely what that work is, and to distinguish it from the similar work of other men whom his influence inspired, is a very difficult matter. Although there are no longer any supporters of the "Pan Giorgionismus"
15
which a century ago claimed for Giorgione nearly every painting of the time that at all resembles his manner, there are still, as then, exclusive critics who reduce to half a dozen the list of extant pictures that they will admit to be by this painter.
Works
edit
Sleeping Venus
(c. 1510),
Gemäldegalerie Alte Meister
Dresden
, Germany
For his home town of Castelfranco, Giorgione painted the
Castelfranco Madonna
, an
altarpiece
in
sacra conversazione
form—
Madonna
enthroned, with saints on either side forming an equilateral triangle. This gave the landscape background an importance which marks an innovation in Venetian art, and was quickly followed by his master
Giovanni Bellini
and others.
16
Giorgione began to use the very refined
chiaroscuro
called
sfumato
—the delicate use of shades of color to depict light and perspective—around the same time as Leonardo. Whether Vasari is correct in saying he learned it from Leonardo's works is unclear—he is always keen to ascribe all advances to Florentine sources. Leonardo's delicate color modulations result from the tiny disconnected spots of paint that he probably derived from
Illuminated manuscript
techniques and first brought into oil painting. These gave Giorgione's works the magical glow of light for which they are celebrated.
Most central and typical of all of Giorgione's extant works is the
Sleeping Venus
now in
Dresden
. It was first recognized by
Giovanni Morelli
, and is now universally accepted, as being the same as the picture seen by
Marcantonio Michiel
and later by Ridolfi (his 17th-century biographer) in the Casa Marcello at Venice. An exquisitely pure and severe rhythm of line and contour chastens the sensuous richness of the painting. The sweep of white drapery on which the goddess lies; and the glowing landscape that fills the space behind her; most harmoniously frame her divinity. The use of an external landscape to frame a nude is innovative; but in addition, to add to her mystery, she is shrouded in sleep, spirited away from accessibility to any conscious expression.
It is recorded by Michiel that Giorgione left this piece unfinished and that the landscape, with a
Cupid
which subsequent restoration has removed, were completed after his death by Titian.
17
The picture is the prototype of Titian's own
Venus of Urbino
and of many more by other painters of the school; but none of them attained the fame of the first exemplar. The same concept of idealized beauty is evoked in a virginally pensive
Judith
from the
Hermitage Museum
, a large painting which exhibits Giorgione's special qualities of color richness and landscape romance, while demonstrating that life and death are each other's companions rather than foes.
Apart from the altarpiece and the frescoes, all Giorgione's surviving works are small paintings designed for the wealthy Venetian collector to keep in his home; most are under two feet (60 cm) in either dimension. This market had been emerging over the last half of the 15th century in Italy, and was much better established in the
Netherlands
, but Giorgione was the first major Italian painter to concentrate his work on it to such an extent—indeed soon after his death the size of paintings began to increase with the prosperity and palaces of the patrons.
The Tempest
(c. 1508),
Gallerie dell'Accademia
Venice
, Italy
The Tempest
has been called the first
landscape
in the history of
Western painting
. The subject of this painting is unclear, but its artistic mastery is apparent.
The Tempest
portrays a man and a breast-feeding woman on either side of a stream, amid a city's rubble and an incoming storm. The multitude of symbols in
The Tempest
offer many interpretations, but none is wholly satisfying. Theories that the painting is about duality (city and country, male and female) have been dismissed since
radiography
has shown that in the earlier stages of the painting the man to the left was a seated female nude.
18
The Three Philosophers
is equally enigmatic and its attribution to Giorgione is still disputed. The three figures stand near a dark empty cave. Sometimes interpreted as symbols of
Plato's cave
or the
Three Magi
, they seem lost in a typical Giorgionesque dreamy mood, reinforced by a hazy light characteristic of his other landscapes, such as the
Pastoral Concert
, now in the
Louvre
. The latter "reveals the Venetians' love of textures", because the painter "renders almost palpable the appearance of flesh, fabric, wood, stone, and foliage".
19
The painting is devoid of harsh contours and its treatment of landscape has been frequently compared to pastoral poetry, hence the title.
Giorgione and the young
Titian
revolutionized the genre of the
portrait
as well. It is exceedingly difficult and sometimes simply impossible to differentiate Titian's early works from those of Giorgione. None of Giorgione's paintings are signed and only one bears a reliable date:
20
his portrait of
Laura
(1 June 1506), one of the first to be painted in the "modern manner", distinguished by dignity, clarity, and sophisticated characterization. Even more striking is the
Portrait of a Young Man
now in
Berlin
, acclaimed by art historians for "the indescribably subtle expression of serenity and the immobile features, added to the chiseled effect of the silhouette and modeling".
19
Few of the portraits attributed to Giorgione appear as straightforward records of the appearance of a commissioning individual, although it is entirely possible that many are. Many can be read as types designed to express a mood or atmosphere, and certainly many of the examples of the portrait tradition Giorgione initiated appear to have had this purpose, and not to have been sold to the sitter. The subjects of his non-religious figure paintings are equally hard to discern. Perhaps the first question to ask is whether there was intended to be a specific meaning to these paintings that ingenious research can hope to recover. Many art historians argue that there is not: "The best evidence, perhaps, that Giorgione's pictures were not particularly esoteric in their meaning is provided by the fact that while his stylistic innovations were widely adopted, the distinguishing feature of virtually all Venetian non-religious painting in the first half of the 16th century is the lack of learned or literary content".
21
Attributions
edit
The Three Philosophers
Vienna
. Attributed to Giorgione by Michiel, who said
Sebastiano del Piombo
finished it; some modern writers also involve
Titian
in its completion
Attributions of work by Giorgione's hand dates from soon after his death, when some of his paintings were completed by other artists, and his considerable reputation also led to very early erroneous claims of attribution. The vast bulk of documentation for paintings in this period relates to large commissions for Church or government; the small domestic panels that make up the bulk of Giorgione's oeuvre are always far less likely to be recorded. Other artists continued to work in his style for some years, and probably by the mid-century deliberately deceptive work had started.
22
Primary documentation for attributions comes from the Venetian collector Marcantonio Michiel. In notes dating from 1525 to 1543 he identifies twelve paintings and one drawing as by Giorgione, of which five of the paintings are identified virtually unanimously with surviving works by art historians:
23
The Tempest
The Three Philosophers
Sleeping Venus
Boy with an Arrow
24
and
Shepherd with a Flute
(not all accept the last as by Giorgione however). Michiel describes the
Philosophers
as having been completed by Sebastiano del Piombo, and the
Venus
as finished by Titian (it is now generally agreed that Titian did the landscape). Some recent art historians also involve Titian in the
Three Philosophers
. The
Tempest
is therefore the only one of the group universally accepted as wholly by Giorgione. In addition, the
Castelfranco Altarpiece
in his hometown has rarely, if ever, been doubted, nor have the wrecked fresco fragments from the German warehouse. The Vienna
Laura
is the only work with his name and the date (1506). This is on the back and is not necessarily by his own hand, but does appear to come from the period. The early pair of paintings in the
Uffizi
are usually accepted.
Pastoral Concert
Louvre
, Paris. A work that the museum now attributes to
Titian
, c. 1509.
25
After that, things become more complicated, as exemplified by
Vasari
. In the first edition of the
Vite
(1550), he attributed a
Christ Carrying the Cross
to Giorgione; in the second edition completed in 1568 he ascribed authorship, variously, to Giorgione in his biography, which was printed in 1565, and to Titian in his, printed in 1567. He had visited Venice in between these dates, and may have obtained different information.
26
The uncertainty in distinguishing between the painting of Giorgione and the young Titian is most apparent in the case of the
Louvre
's
Pastoral Concert
(or
Fête champêtre
), described in 2003 as "perhaps the most contentious problem of attribution in the whole of Italian Renaissance art,"
27
but affects a large number of paintings possibly from Giorgione's last years.
The
Pastoral Concert
is one of a small group of paintings, including the
Virgin and Child with Saint Anthony and Saint Roch
in the
Prado
28
which are very close in style and, according to Charles Hope, have been "more and more frequently given to Titian, not so much because of any very compelling resemblance to his undisputed early works—which would surely have been noted before—as because he seemed a less implausible candidate than Giorgione. But no one has been able to create a coherent sequence of Titian's early works that includes these ones, in a way that commands general support, and fits the known facts of his career. An alternative proposal is to assign the
Pastoral Concert
and the other pictures like it to a third artist, the very obscure Domenico Mancini."
29
While Crowe and Cavalcaselle considered the
Concert
from Palazzo Pitti as Giorgione's masterpiece but disattributed the Louvre's
Pastoral Concert
, Lermolieff reinstated the
Pastoral Concert
and claimed instead that the Pitti
Concert
was by Titian.
30
Giulio Campagnola
, well known as the engraver who translated the Giorgionesque style into
prints
, but none of whose paintings are securely identified, is also sometimes also brought into consideration. For example, the late W.R. Rearick gave him
Il Tramonto
(see Gallery) and he is an alternative choice for a number of drawings that might be by Titian or Giorgione, and both are sometimes credited with the design of some of his engravings.
31
The Allendale Nativity/Adoration of the Shepherds
c. 1505 –
National Gallery of Art
. The "Allendale Group" takes its name from this painting.
A group of paintings from an earlier period in Giorgione's short career is sometimes described as the "Allendale group", after the
Allendale Nativity
(or
Allendale Adoration of the Shepherds
, rather more correctly) in the
National Gallery of Art, Washington
. This group includes another Washington painting, the
Holy Family
, and an
Adoration of the Magi
predella
panel in the
National Gallery, London
32
The paintings in this group, now often expanded to include a very similar
Adoration of the Shepherds
in Vienna,
33
and sometimes other works, are increasingly included in or sometimes excluded from Giorgione's oeuvre. Ironically, the
Allendale Nativity
caused the rupture in the 1930s between
Lord Duveen
, who sold it to
Samuel Kress
as a Giorgione, and his expert
Bernard Berenson
, who insisted it was an early Titian. Berenson had played a significant part in reducing the Giorgione catalogue, recognising fewer than twenty paintings.
34
Matters are further complicated because no drawing can be certainly identified as by Giorgione (although one in Rotterdam is widely accepted), and a number of aspects of the arguments over the defining of Giorgione's late style involve drawings.
Despite being greatly praised by contemporary writers and remaining a great name in Italy, Giorgione became less known to the wider world, and many of his (probable) paintings were assigned to others. The Hermitage
Judith
for example, was long regarded as a
Raphael
, and the Dresden
Venus
a Titian. In the late 19th century a great Giorgione revival began, and the fashion ran the other way. Despite well over a century of dispute, controversy remains active. Large numbers of pictures attributed to Giorgione a century ago, in particular portraits, are now firmly excluded from his oeuvre, but debate is, if anything, more fierce now than then.
35
There are effectively two fronts on which the battles are fought: paintings with figures and landscape, and portraits. According to David Rosand in 1997, "The situation has been thrown into new critical confusion by Alessandro Ballarin's radical revision of the corpus ... [Paris exhibition catalogue, 1993, increasing it] ... as well as Mauro Lucco ... [Milan book, 1996]."
36
Recent major exhibitions at Vienna and Venice in 2004 and Washington in 2006, have given art historians further opportunities to see disputed works side by side (see External links below).
But the situation remains confused; in 2012
Charles Hope
complained: "In fact, there are only three paintings known today for which there is clear and credible early evidence that they were by him. Despite this, he is now generally credited with between twenty and forty paintings. But most of these ... bear no resemblance to the three just mentioned. Some of them might be by Giorgione, but in most cases there is no way of telling".
37
Legacy
edit
The
Castelfranco Madonna
, before recent cleaning. Giorgione's only altarpiece
Although he died in his thirties, Giorgione left a lasting legacy to be developed by Titian and 17th-century artists. Giorgione never subordinated line and colour to architecture, nor an artistic effect to a sentimental presentation. Yet, Vasari wrote, "[Giorgioni] studied drawing [
disegno
] and relished it. And in this [i.e.,
disegno
] nature favored him so highly, that he ... acquired the name ... of having surpassed Giovanni and Gentile Bellini.... Titian, then, having seen the method and manner of Giorgione, abandoned the manner Giambellino [i.e., Giovanni Bellini] ... and attached himself to that [of Giorgione]...."
38
Giorgioni was arguably the first Italian to paint landscapes with figures as movable pictures in their own frames with no devotional, allegorical, or historical purpose—and the first whose colours possessed that ardent, glowing, and melting intensity which was so soon to typify the work of all the
Venetian School
Selected works
edit
The Test of Fire of Moses
(1500–1501) -
Oil on panel, 89 x 72,
Uffizi
Florence
The Judgement of Solomon
(1500–1501) -
Oil on panel, 89 x 72 cm, Uffizi, Florence
Judith
(c. 1504)
- Oil on canvas,
transferred from panel
, 144 x 66,5 cm,
Hermitage Museum
St. Petersburg
Adoration of the Shepherds
(c. 1505–10) -
Oil on panel, 90.8 x 110.5 cm,
National Gallery of Art
Washington
Castelfranco Madonna
Madonna and Child Enthroned between St. Francis and St. Nicasius
); c. 1505
- Oil on wood, 200 x 152 cm, Duomo,
Castelfranco Veneto
Portrait of a Young Bride (Laura)
(c. 1506)
Oil on wood, 41 x 33,5 cm,
Kunsthistorisches Museum
Vienna
The Tempest
La Zingara e il Soldato
) (
La Zingarella e il Soldato
) (c. 1508)
- Oil on canvas, 82 x 73 cm,
Gallerie dell'Accademia
, Venice
La Vecchia (Old Woman)
(c. 1508)
- Oil on canvas, 68 x 59 cm, Gallerie dell'Accademia, Venice
Pastoral Concert
(c. 1509) now widely attributed to Titian
- Oil on canvas, 110 x 138 cm,
Louvre
, Paris
Portrait of a Youth
(1508–10)
- Oil on canvas, 72,5 x 54 cm,
Museum of Fine Arts (Budapest)
The Three Philosophers
(1509)
- Oil on canvas,
Kunsthistorisches Museum
, Vienna
Portrait of Warrior with his Equerry
(c. 1509)
- Oil on canvas, 90 x 73 cm, Uffizi, Florence
Sleeping Venus
(c. 1510)
- Oil on canvas, 108,5 x 175 cm,
Gemäldegalerie Alte Meister
, Dresden
The Impassioned Singer
(c. 1510)
- Oil on canvas, 102 x 78 cm,
Galleria Borghese
, Rome
Portrait of a Young Man
- Wood, 69,4 x 53,5 cm,
Alte Pinakothek, Munich
Young Man with Arrow
Garçon à la flèche
(Knabe mit Pfeil) (L'enfant à la flèche) (sometimes attributed)
Gallery
edit
One of the "Allendale group", the small
Adoration of the Magi
predella
, London
Young Man with Arrow
, (1506?)
Kunsthistorisches Museum
, Vienna
Judith
, Hermitage Museum
La Vecchia
, "The Old Woman", Accademia. The paper she holds reads, "Col tempo" or "With time".
Il Tramonto
, London, little known until the middle of the 20th century, and still a controversial attribution
The Berlin
Giustiniani Portrait
(or
Portrait of a Man
), one of the most frequently attributed portraits
The San Diego
Portrait of a Man
, another of the more frequently attributed portraits
The Budapest
Portrait of a Young Man
, damaged
Portrait of a Venetian Gentleman
, by Giorgione and
Titian
1510 –
National Gallery of Art
Portrait of a Young Man
, attributed to Giorgione
Portrait of Giovanni Borgherini and Trifone Gabriele,
canvas, 1509/10,
Bavarian State Painting Collections
(7452)
39
Notes
edit
Venetian
Zorzi da Castelfranco
English:
UK
dʒ
ɔːr
dʒ
oʊ
eɪ
JOR
-jee-
OH
-nay, -⁠nee
US
dʒ
ɔːr
dʒ
oʊ
jor-
JOH
-nee
Italian:
[dʒorˈdʒoːne]
; Venetian:
Zorzon
[zoɾˈzoŋ]
References
edit
Vasari's 1550 edition gives Giorgione's birth year as 1477
, although one source says that Vasari's 1550 edition gives it as 1476. Anderson, Jaynie, et al., "Giorgione in Sydney",
Burlington Magazine
, CLXI/1392 (March 2019), p. 192;
Vasari's 1568 edition gives it as 1478
"Some recent discoveries supply a little more information about Giorgione′s short life. An inscription on a previously unknown drawing, perhaps by Giorgione, appended to the final page of an edition of Dante's
Divine Comedy
published in Venice in 1497, gives precise dates for the painter's birth and death, telling us that he died on 17 September 1510, at the age of 36. This would mean that Giorgione was born at some point between 18 September 1473 and 17 September 1474, a few years earlier than had previous been thought...." Tom Nichols,
Giorgione's Ambiguity
(Reaktion Books, 2020, pp. 19-20);
University of Sydney Library.
"Dante's Divine Comedy with Giorgione illustration and death notice"
Digital Collections
Nichols cites Anderson, Jaynie, et al., "Giorgione in Sydney",
Burlington Magazine
, CLXI/1392 (March 2019), pp. 190-99.
The precise date is cited in Nichols, p. 19. Vasari, in both editions, gives Giorgioni's year of death as 1511.
Dalvit and Peyton, pp. 44, 46, state that "only four [paintings] can be assigned to him with certainty: a portrait of an unidentified sitter now in
San Diego
, formerly in the Terris collection ... ; the famous
Tempest
at the
Gallerie dell'Accademia
in Venice; the so-called
Laura
of 1506 at the
Kunsthistorisches Museum
in Vienna; and, in the same museum, the
Three Philosophers
Vasari, Giorgio; Conaway Bondanella, Julia; Bondanella, Peter (1991).
The Lives of the Artists
. New York: Oxford University Press.
ISBN
978-0-19-953719-8
; In 2017 at the
University of Sydney Library
, a librarian discovered an original Giorgione sketch that included a definitive date and cause of death for the artist, with an ink inscription that reads "
1510 Ihs Maria. On the day of 17 September, Giorgione of Castelfranco, a very excellent artist died of the plague in Venice at the age of 36 and he rests in peace"
"Dante's Divine Comedy with Giorgione illustration and death notice"
University of Sydney Library
. Retrieved
2019-02-24
Slattery, Luke (16 February 2019).
"Divine discovery: Renaissance art found by Sydney University librarian"
The Australian
. Retrieved
24 February
2019
Ridolfi, Carlo,
The Life of Titian
, edited by Julia Conaway Bondanella and
Peter Bondanella
Bruce Cole
, and Jody Robin Shiffman; translated by Julia Conaway Bondanella and Peter Bondanella. University Park, Pennsylvania: The Pennsylvania State University Press, 1996, p. 60.
University of Sydney Library.
"Dante's Divine Comedy with Giorgione illustration and death notice"
Digital Collections
. Retrieved
23 May
2021
Catholic Encyclopedia
Herbert Frederick Cook (1904).
Giorgione
Archivio veneto
. 1894.
Masters in Arts: A Series of Illustrated Monographs ... Giorgioni ...
1903. p. 446.
Tobias, Michael (1995).
A Vision of Nature
. Kent State University Press. p.
130
ISBN
978-0-87338-483-4
Press release, 2011
The Burlington Magazine
Three-Pipe problem
Archived
2014-05-03 at the
Wayback Machine
Il Giornale d'Arte (in Italian)
Archived
2014-08-06 at the
Wayback Machine
An old art historians' jibe at
Richter, George Martin (1 January 1932). "A Clue to Giorgione's Late Style".
The Burlington Magazine for Connoisseurs
60
(348):
123–
132.
JSTOR
865045
Teresa Pignati in Jane Martineau (ed.),
The Genius of Venice, 1500–1600
, pp. 29–30, 1983, Royal Academy of Arts, London.
"Originally attributed to Giorgione, it is now thought that Titian reworked or finished most of the picture except for the nude". Ian G. Kennedy,
Titian: circa 1490-1576
, Taschen, 2006, p. 48.
"The Tempest"
. Archived from
the original
on 2007-02-09
. Retrieved
2013-05-27
"2006 Britannica"
Britannica.com
. Retrieved
2013-05-27
{{
cite encyclopedia
}}
: CS1 maint: deprecated archival service (
link
Brown, D. A., Ferino Pagden, S., Anderson, J., & Berrie, B. H. (2006).
Bellini, Giorgione, Titian, and the Renaissance of Venetian Painting
. Washington: National Gallery of Art.
ISBN
0-300-11677-2
p. 42
Charles Hope in Jane Martineau (ed.),
The Genius of Venice, 1500–1600
, 1983, p. 35, Royal Academy of Arts, London
Cecil Gould
, The Sixteenth Century Italian Schools, National Gallery Catalogues, London 1975, p. 107,
ISBN
0-947645-22-5
"EB online"
Britannica.com
. Retrieved
2013-05-27
{{
cite encyclopedia
}}
: CS1 maint: deprecated archival service (
link
Vienna, illustrated below. Described in 2007 as "a rare example of a painting still universally attributed to Giorgione" in Lucy Whitaker, Martin Clayton,
The Art of Italy in the Royal Collection; Renaissance and Baroque
, p. 185, Royal Collection Publications, 2007,
ISBN
978-1-902163-29-1
From the Louvre Museum Official Website
It is often called the
Fête Champêtre
(meaning "Picnic") in older works.
Charles Hope in David Jaffé (ed.),
Titian
, The National Gallery Company/Yale, p. 12, London 2003,
ISBN
1-85709-903-6
Charles Hope in David Jaffé (ed.),
Titian
, The National Gallery Company/Yale, p. 14, London 2003
ISBN
1-85709-903-6
Listed as "Giorgione (?)" in the 1996 Prado catalogue, which notes the debate, but in 2007 labelled as Titian in the gallery. See
Museo del Prado, Catálogo de las pinturas
, 1996, p. 129, Ministerio de Educación y Cultura, Madrid, No ISBN.
Charles Hope in Jaffé (ed.),
Titian
, 2003, op. cit., p. 14. Francis Richardson, who wrote the catalogue entry for the Prado painting (no. 34) in: Jane Martineau (ed.),
The Genius of Venice, 1500–1600
, 1983, Royal Academy of Arts, London,
after considering Mancini, is one of those happy to attribute the painting to Titian. The Mancini suggestion comes originally from a German article of 1933 by J. Wilde: "Die Probleme um Domenico Mancini", JKSW
Uglow, Luke,
Giovanni Morelli and his friend Giorgione: connoisseurship, science and irony
Journal of Art Historiography
, No. 11, December 2014.
John Dixon Hunt (ed.),
The Pastoral Landscape
, National Gallery of Art, Washington, 1992, pp. 146–7,
ISBN
0-89468-181-8
NGA 2006 exhibition brochure, page 4
Archived
October 12, 2012, at the
Wayback Machine
Kunthistoriches Museum 2004 exhibition website
Archived
March 25, 2005, at the
Wayback Machine
"his works ... not a score in all" in
Italian Painters of the Renaissance
, 1952, (many editions). By the last (1957) edition of his
Lists
, Berenson had changed his mind and listed all the three main "Allendale" works as "by Giorgione" – see Gould op. cit. p. 105.
See the
Art Journal
review of a major 1993 Paris exhibition, which lists some Ballarin additions to the corpus
by Wendy Stedman Sheard
David Rosand,
Painting in Sixteenth-Century Venice
, 2nd ed. 1997, p. 186, n. 74; Cambridge University Press,
ISBN
0-521-56568-5
For some Ballarin attributions, see previous note.
Hope, Charles
(24 May 2012).
"At the National Gallery"
London Review of Books
34
(10): 22
. Retrieved
28 November
2012
Quoted in Giulio Dalvit and
Elizabeth Peyton
Titian's Man in a Red Hat
, New York: The
Frick Collection
. 2022, pp. 46, 48.
Attributed to Giorgione in 2024 after extensive research. Press release with downloadable PDF:
"A present for the Alte Pinakothek: Research group discovers a forgotten work by Giorgione!"
Pinakothek.de
. 18 December 2024
. Retrieved
18 December
2024
Bibliography
edit
This article incorporates text from a publication now in the
public domain
Colvin, Sidney
(1911). "
Giorgione
".
Encyclopædia Britannica
. Vol. 12 (11th ed.). pp.
31–
33.
Gould, Cecil
The Sixteenth Century Italian Schools
, National Gallery Catalogues, London 1975,
ISBN
0-947645-22-5
Encyclopedia of Artists, volume 2
, edited by William H.T. Vaughan,
ISBN
0-19-521572-9
, 2000
Further reading
edit
David Alan Brown and Sylvia Ferino-Pagden,
Bellini·Giorgione·Titian and the Renaissance of Venetian Painting
, New Haven, CT: Yale University Press, 2006 (accompanying an exhibition at the
National Gallery of Art
, Washington, D.C., and the
Kunsthistorisches Museum
, Vienna).
Giulio Dalvit and
Elizabeth Peyton
Titian's Man in a Red Hat
, New York: The
Frick Collection
. 2022, pp. 44-53.
The Complete Paintings of Giorgione
. Introduction by Cecil Gould. Notes by Pietro Zampetti. NY: Harry N. Abrams. 1968.
Giorgione. Atti del Convegno internazionale di studio per il quinto centenario della nascita (Castelfranco Veneto 1978)
, Castelfranco Veneto, 1979.
Tom Nichols,
Giorgione's Ambiguity
, London, UK: Reaktion Books, 2020.
Salomon, Xavier F.
Bellini
and Giorgione in the House of Taddeo Contarini
. New York: The
Frick Collection
, 2023. Catalogue for exhibition in External links.
Sylvia Ferino-Pagden,
Giorgione: Mythos und Enigma
, Ausst. Kat. Kunsthistorisches Museum Wien, Wien, 2004 (translated as
Giorgione: Myth and Enigma
, Milan, Italy: Skira, 2004).
Sylvia Ferino-Pagden (Hg.),
Giorgione entmythisiert
, Turnhout, Brepols, 2008.
Unglaub, Jonathan, "The Concert Champêtre: The Crises of History and the Limits of Pastoral."
Arion
, Vol. 5, no. 1 (Spring - Summer, 1997): 46–96.
External links
edit
Wikimedia Commons has media related to
Giorgione
Video: "Giorgione and the problem of attribution"
, by Charles Hope,
London Review of Books
, 2016
Tour: Giorgione and the High Renaissance in Venice, National Gallery of Art, Washington, DC
Giorgione featured on 10 Euro Coin
Archived
2023-03-31 at the
Wayback Machine
Giorgione death notice and original sketch
at the
University of Sydney Library
Bellini and Giorgione in the House of Taddeo Contarini
, exhibition at the
Frick Collection
, November 9, 2023 to February 4, 2024. Exhibition of
St. Francis in Ecstasy (Bellini)
and
The Three Philosophers
(Giorgione).
Giorgione
Paintings
Detroit Trio
(c. 1500) (with
Titian
and
Sebastiano del Piombo
) (
disputed
The Three Ages of Man
(c. 1500–1501)
Portrait of Francesco Maria della Rovere
(c. 1502) (
disputed
Castelfranco Madonna
(c. 1503–1504)
Giustiniani Portrait
(c. 1503–1504)
Judith
(c. 1504)
The Test of Fire of Moses
(c. 1502–1505)
The Judgement of Solomon
(c. 1502–1505)
Christ Carrying the Cross
(c. 1505) (
also attributed to
Titian
Laura
(1506)
Il Tramonto (The Sunset)
(c. 1505–1508)
The Tempest
(c. 1506–1508)
The Three Philosophers
(c. 1505–1510) (
disputed
Adoration of the Shepherds
(c. 1505–1510) (
disputed
Portrait of a Young Man
(c. 1508–1510) (
disputed
Self-portrait as David
(c. 1509–1510) (
disputed
Self-portrait
(c. 1508–1510)
Sleeping Venus
(c. 1510) (
disputed
Formerly attributed
Shepherd with a Flute
(c. 1510–1515) (
currently attributed to
Titian
Pastoral Concert
(c. 1509) (
currently attributed to
Titian
High Renaissance
Principal proponents
Donato Bramante
Giorgione
Michelangelo
Raphael
Titian
Leonardo da Vinci
Other artists
Mariotto Albertinelli
Pellegrino Aretusi
Fra Bartolomeo
Ludovico Beretta
Moretto da Brescia
Gasparo Cairano
Giulio Clovio
Antonio da Correggio
Piero di Cosimo
Bernardino delle Croci
Girolamo Genga
Lorenzo Lotto
Maffeo Olivieri
Baldassare Peruzzi
Sebastiano del Piombo
Antonio da Sangallo the Younger
Andrea del Sarto
Il Sodoma
Tamagnino
Palma Vecchio
Antonio Vassilacchi
Major works
The Last Supper
c.
1492–1498
Pietà
(1498–1499)
San Pietro in Montorio
(1500)
David
(1501–1504)
Mona Lisa
c.
1502–1516
St. Peter's Basilica
(1506–1513)
Sistine Chapel ceiling
(1508–1512)
Raphael Rooms
(1509–1524)
Transfiguration
(1516–1520)
The Last Judgment
(1536–1541)
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Categories
Italian Renaissance painters
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