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From the 1540s The period of the late Renaissance begins. The wealthy Venetian Republic, free from the power of the Pope, ensured the development of art in this region. The rest of Italy fell under the rule of foreign powers and became the main stronghold of the feudal-Catholic reaction. The Renaissance in Venice had its own characteristics. Already from the 13th century. Venice was a colonial power that owned territories on the coasts of Italy, Greece, and the islands of the Aegean Sea. She traded with Byzantium, Syria, Egypt, and India. The influence of the West and the East - Byzantine elegance and golden shine, the pattern of Moorish monuments, the fantastic nature of Gothic temples.

A passion for luxury, decorativeness and a dislike for scientific research delayed the penetration of artistic ideas and practices of the Florentine Renaissance into Venice. Here, Renaissance art was fueled by love not for antiquity, but for its city, determined by its characteristics. formation of a special artistic style, manifested in a passion for color, its tints and combinations. The predilection for color is also explained by the ingrained love for rich decorations, bright colors and abundant gilding in works of art of the East. The Venetian Renaissance also proved rich in great painters and sculptors.

Representatives Titian (and in the High Renaissance) Veronese, Tintoretto, Giorgione, Correggio, Andrea Palladio, Benvenuto Cellini From the High Renaissance - Michelagelo)

Unlike the art of Central Italy, where painting developed in close connection with architecture and sculpture, in Venice of the 14th century painting was in first place. In the works of Giorgione and Titian, a transition to easel painting took place. One of the reasons for the transition was determined by the climate of Venice, in which the frescoes were poorly preserved. Along with the establishment of easel painting, the diversity of genres increased. Thus, Titian created paintings on mythological subjects, portraits, compositions on biblical stories. In the work of representatives of the Late Renaissance - Veronese and Tintoretto - there was a new rise in monumental painting.

Giorgio da Castelfranco, nicknamed Giorgione (1477 -1510), lived a short life. His exact origins are unknown, and there is no specific information about his years of apprenticeship with Bellini. The secular principle finally wins. Designed for long and calm contemplation, nature takes an increasingly decisive role. The subjects of his paintings “The Thunderstorm” and “Three Philosophers” are difficult to interpret. In 1510 Giorgione dies of the plague.

"Judith", Hermitage Main role in Giorgione’s work he plays with color with a variety of tones and their soft tints. Giorgione is considered the founder of easel painting. His style influenced the painting of the Venetian school and was developed by his student Titian. "Sleeping Venus" 1507 The first image of "nudity for nakedness's sake"

Titian Vecellio (1476/77 - 1576). He studied with Giovanni Bellini. After Bellini's death, the place of the artist of the Venetian school of the Republic passed to Titian. At the turn of the high and late renaissance. In 1507, Titian entered Giorgione's workshop. After his death, Titian completed some of his paintings and accepted several of his orders, opening his own workshop. The heroes are more refined, but powerful and full-blooded. The master develops the painting reform that Giorgione began: the artist gives preference to large canvases that allow for a wide and free application of colors. Master of nudity and sensual beauty

Titian's color scheme is based on a golden color scheme, which is based on subtle shades of colors. Self-portrait "Venus of Urbino", 1538

Mythological scenes for the "room of plaster castings" by Alfonso d'Este in Castello (Ferrara). Bacchus and Ariadne 1522 -1523

"Penitent Mary Magdalene", 1560s. COLORIT – harmony of different colors of a painting. "Portrait of Charles V"

In Rome, new themes appear in Titian's work - the drama of struggle, tension. He paints pictures commissioned by Pope Paul III, causing the pope's displeasure. forced to change patron. Now he writes for Charles V. He also receives orders from the Spanish King Philip II. IN last years life is dominated by moods of anxiety and disappointment. Religious paintings increasingly turn to dramatic subjects.

Jacopo Tintoretto (1518 -1594). Real name Jacopo Robusti. Tintoretto's painting marks the end of the Italian Renaissance. The artist gravitated towards pictorial cycles of a complex thematic nature; he used rare subjects. If painters tend to convey time that has no beginning or end, then Tintoretto uses the principle of conveying an event. The specificity of Tintoretto’s works is suggestiveness, dynamics, spatial multidimensionality

Paolo Veronese (1528 -1588). Possibly real name Paolo Caliari. For thirty-five years, Veronese worked to decorate and glorify Venice. Color in Veronese's works does not play the most important role. Unlike Titian, who was primarily an easel painter, Veronese had a special gift as a decorator. Veronese was the first of the Venetian artists to create entire decorative ensembles, painting the walls of churches, monasteries, palaces and villas from top to bottom, incorporating his painting into the architecture. For these purposes he used the fresco technique. In his paintings and lampshades, the artist used strong angles, bold spatial cuts, designed to view the painting from the bottom up.

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

Last quarter of the 16th century. for the culture of the Renaissance it became a time of decline. The work of artists who were called “mannerists” (from the Italian manierismo - pretentiousness), and the entire direction - “mannerism”, acquired a sophisticated, pretentious character. The Venetian school of painting resisted the penetration of mannerism longer than others and remained faithful to the traditions of the Renaissance. However, her images also became less sublime and heroic, more earthly, connected with real life.

VENICE SCHOOL OF PAINTING

Teacher: Kaygorodova Natalya Evgenievna

What does "Venice School" mean?

Venice was one of the leading centers of Italian culture. It is considered one of the main Italian painting schools. The heyday of the Venetian school dates back to the 15th-16th centuries. The “Pearl of the Adriatic” - a quaintly picturesque city with canals and marble palaces, spread out on 119 islands among 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, and overseas territories. It was one of the leading centers of Italian culture, book printing, and humanistic education.

Artistic principles

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

These principles: bright coloristic techniques

mastery 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, an emotional richness of perception, and admiration for the physical, material diversity of the world. At a time when fragmented Italy was torn apart by strife, Venice flourished and quietly floated along the smooth surface of the waters and living space, as if not noticing the complexity of existence or not thinking much about it, unlike the High Renaissance, whose creativity was fed by thoughts and complex quests.

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

Giovanni Bellini. "Sacred Allegory". Oil. 1490.

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

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

Paolo Veronese

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

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

Jacopo Bellini

The features of Venetian painting evolved 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 to turn to the achievements of the most advanced Florentine school at that time, the study antiquity and principles linear perspective .

The main part of his legacy consists of two albums of drawings with the development of compositions of complex multi-figure scenes on religious themes. In these drawings, intended for the artist’s studio, we already see character traits Venetian school. They are imbued with the spirit of gossip columns, with 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 in the 15th century. On his monumental canvases, Venice appears before us in all the splendor of its bizarrely picturesque appearance, at moments of festivals and solemn ceremonies, with crowded magnificent processions and a motley crowd of spectators crowded on the narrow embankments of canals and humpbacked bridges.

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

The historical compositions of Gentile Bellini influenced the works of his younger brother Vittore Carpaccio, who created several cycles of monumental paintings for the Venetian brotherhoods - the Scuol. The most remarkable of them are “The History of St. Ursula" and "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 paintings 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 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 was very similar to Giorgione's style; he even completed paintings for him that remained unfinished (Giorgione died young from the plague that was raging 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 painted many female portraits and images of Madonnas. They are full of vitality, brightness of feelings and calm joy. The paints are clean and full of color.

Titian. "Portrait of Daughter Lavinia." Oil. 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 different names. Art critics do not have a unanimous opinion about the plot. Against the backdrop of a sunset landscape, a richly dressed Venetian woman, holding a mandolin with her left hand, and a naked Venus holding a bowl of fire sit at the source. Winged cupid plays with water. Everything in this picture is subordinated 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 knew how to see and portray the contradictory character traits of people: 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 a gospel plot, but the artist skillfully transfers the gospel events into reality. Pilate stands on the steps of the stairs and, with the words “behold the man,” betrays Christ to be torn to pieces by the crowd, which includes warriors and young men of a noble family, horsemen and even women with children. And only one person realizes the horror of what is happening - the young man in the lower left corner of the picture. But he is nothing before those who have power over Christ in this moment...

In 1575, a plague epidemic began 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 prescribed that the bodies of those who died from the plague should 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 - 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 plague epidemics that were frequent at that time. His legacy is small in volume: some of Giorgione’s paintings, which remained unfinished, were completed by his younger comrade and workshop assistant, Titian. However, Giorgione's few paintings were to become a revelation for his contemporaries. This is the first artist in Italy for whom secular themes decisively prevailed over religious ones and determined the entire structure of his creativity. He created a new, deeply poetic image of the world, unusual for Italian art of that time with its inclination towards grandeur, monumentality, and heroic intonations. In Giorgione’s paintings we see a world that is idyllically beautiful and simple, full of thoughtful silence.

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

Giorgione's art was a real revolution in Venetian painting and had a huge influence on his contemporaries, including Titian

This image is atypical for a Renaissance portrait: the model’s gaze in portraits of that era is usually directed directly, creating a feeling of contact with the viewer. The young man looks away, this creates a special, melancholic atmosphere and interaction not on a rational, but on an emotional level. This work successfully combines individual traits with the image ideal person Renaissance.

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

X-ray examination of the painting showed that the young man was initially looking at the landscape serving as the background of the painting.

Portrait young man. OK. 1510

Judith

Worship of the Shepherds

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

P. Veronese. "Paintings on the ceiling of the Olympus Hall." 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, designed in an exquisite silvery tonality, against the backdrop of magnificent architecture, a colorful crowd appears before us, striking with vital brightness - patricians and noble ladies in magnificent attire, soldiers and commoners, musicians, servants, dwarfs.

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

Jacopo Tintoretto

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

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

By the inexhaustible wealth of artistic imagination, by the breadth of the world, which contains a tragedy of a universal scale (“Calvary”), a miracle that transforms a poor shepherd’s hut (“The Nativity of Christ”), and the mysterious greatness of nature (“Mary Magdalene in the Desert” ), and high exploits of the human spirit (“Christ before Pilate”), this cycle has no equal in the art of Italy. Like a majestic and tragic symphony, it completes, together with other works of Tintoretto, the history of the Venetian painting school of the Renaissance.

Homework.

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

To view the presentation with pictures, design and slides, download its file and open it in PowerPoint on your computer.
Text content of presentation slides: Venice School of PaintingTeacher MKOU Bondarevskaya Secondary School Ponomareva Natalya Nikolaevna Giovanni BelliniGiovanni Bellini (about 1430–1516), the second son of Jacopo Bellini, is the largest artist of the Venetian school, who laid the foundations of the art of the High Renaissance in Venice. Portrait of Doge Leonardo Loredan ]The portrait of Doge Leonardo Loredan was officially commissioned by Bellini as an artist of the Republic of Venice. In this work, the Doge is depicted almost frontally - contrary to the existing tradition of depicting the faces of those portrayed in profile, including on medals and coins. Altar of Saint Job At the foot of the high throne, on which the Madonna and Child solemnly sits, blessing those who came to worship her, there are angels playing music (Saint Job was considered one of the patrons of music). The figures are made in life size. Bellini placed two naked saints, Giobbe and Sebastian, on the flanks of Mary's throne, next to them were Saints John the Baptist, Dominic and Louis of Toulouse. The architecture and decor of the apse, covered with gold smalt, are reminiscent of the Cathedral of San Marco. On a golden background the words are clearly readable: “Ave, pure flower of virgin chastity.” Giorgione. Giorgione “Self-Portrait” (1500-1510) Another representative of the Venetian school of painting; one of greatest masters High Renaissance.His 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 of the Italian painters to introduce landscape, beautiful and poetic Judith in religious, mythological and historical paintings. ", a Jewish widow who saved her hometown from the Assyrian invasion. After Assyrian troops besieged her hometown, she dressed up and went to the enemy camp, where she attracted the attention of the commander. When he got drunk and fell asleep, she cut off his head and brought it to his hometown, which was thus saved by Sleeping Venus. In this work, the ideal of the unity of the physical and spiritual beauty of man was revealed with great humanistic completeness and almost ancient clarity. Surprisingly chaste, despite her nakedness, “Sleeping Venus” is in the full sense an allegory, a symbolic image of Nature. Storm. The main character in this picture is a thunderstorm. The artist dedicated the background to the shine of a lightning-shaped arrow, which flashed like a snake in the air. Immediately on the right and left, the foreground displays female and male figures. A woman feeds a child. She barely has any clothes on. The picture is full of diversity. Wildlife makes itself felt everywhere http://opisanie-kartin.com/opisanie-kartiny-dzhordzhone-g TitianTitian “Self-Portrait” (circa 1567) Titian Vecellio is an Italian painter of the Renaissance. He painted paintings on biblical and mythological subjects, as well as portraits. Already at the age of 30, he was known as the best painter of Venice. Titian was born into the family of statesman and military leader Gregorio Vecellio. The exact date of his birth is unknown. At the age of 10 or 12, Titian came to Venice, where he met representatives of the Venetian school and studied with them. Titian's first works, completed together with Giorgione, were frescoes in the Fondaco dei Tedeschi, of which only fragments have survived. Earthly and Heavenly Love The plot of the painting still causes controversy among art critics. According to the Viennese historian art of the 19th century century by Franz Wickhof, the scene depicts the meeting of Venus and Medea, who is persuaded by the goddess to help Jason. According to another version, the plot is borrowed from Francesco Colonna’s popular book at the time, “Hypnerotomachia Poliphila.” Against the backdrop of a sunset landscape, a richly dressed Venetian woman sits at the source, holding a mandolin with her left hand, and a naked Venus holding a bowl of fire. According to S. Zuffi, a dressed girl personifies love in marriage; The color of her dress (white), the belt, the gloves on her hands, the myrtle wreath crowning her head, her flowing hair and roses indicate marriage. In the background there is a pair of rabbits - a wish for large offspring. This is not a portrait of Laura Bagarotto, but an allegory of a happy marriage.// Bacchus and Ariadne Ariadne, abandoned by Theseus on the island of Naxos, came to console Bacchus. Titian depicts the moment of the first meeting of the heroes. Bacchus emerges from the forest thicket with his numerous retinue and rushes towards Ariadne, who is frightened of him. In this compositionally complex scene, all the characters and their actions are explained by ancient texts. Bacchus' retinue performs their rituals: one satyr demonstrates how snakes are entwined around him, another swings a calf's leg, and a baby satyr drags the animal's head behind him. The Penitent Mary MagdaleneTiziano Vecellio wrote his work “The Penitent Mary Magdalene” to order in the 60s of the 16th century. The model for the painting was Julia Festina, who amazed the artist with her shock of golden hair. The finished canvas greatly impressed the Duke of Gonzaga, and he decided to order a copy of it. Later, Titian, changing the background and posing of the woman, wrote a couple more similar works. Saint Sebastian"Saint Sebastian" is one of the best works painter. Titian's Sebastian is a proud Christian martyr who, according to legend, was shot with a bow on the orders of Emperor Diocletian for refusing to worship pagan idols. Sebastian's powerful body is the embodiment of strength and defiance; his gaze does not express physical torment, but a proud challenge to his tormentors. Titian achieved a unique effect of shimmering color not only with the help of a color palette, but also using the texture of the paints, the relief of the strokes. “Behold the Man” This painting is considered Titian’s masterpiece. It is written on a gospel plot, but the artist skillfully transfers the gospel events into reality. Pilate stands on the steps of the stairs and, with the words “behold the man,” betrays Christ to be torn to pieces by the crowd, which includes warriors and young men of a noble family, horsemen and even women with children. And only one person realizes the horror of what is happening - the young man in the lower left corner of the picture. But he is nothing before those who have power over Christ at the moment...1543). Canvas, oil. 242x361 cm. Kunsthistorisches Museum, Vienna Tintoretto (1518/19-1594) Tintoretto “Self-portrait” His real name is Jacopo Robusti. He was a painter of the Venetian school of the late Renaissance. He was born in Venice and received the nickname Tintoretto (little dyer) by profession from his father, who was a dyer (tintore). He discovered his ability to paint early. For some time he was a student of Titian. The distinctive qualities of his work were the lively drama of the composition, the boldness of the drawing, the peculiar picturesqueness in the distribution of light and shadows, the warmth and strength of the colors. Subtle, muted colors are combined into a beautiful range of greenish, lilac-cherry, gray-white tones, softly shimmering in the light and seeming to fade in the shadows. Veronese painted the Lamentation for the Church of San Giovanni e Paolo in Venice between 1576 and 1582. In the first half of the 17th century, it was bought by the English king Charles I. Subsequently, the painting in the church was replaced by a copy of the work of Alessandro Varotari (Padovanino).

Description of the presentation by individual slides:

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Venice School of Painting Teacher MKOU Bondarevskaya Secondary School Ponomareva Natalya Nikolaevna

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Giovanni Bellini Giovanni Bellini (c. 1430–1516), second son of Jacopo Bellini, is the largest artist of the Venetian school, who laid the foundations of High Renaissance art in Venice.

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Portrait of Doge Leonardo Loredana] The portrait of Doge Leonardo Loredana was officially commissioned by Bellini as an artist of the Republic of Venice. In this work, the Doge is depicted almost frontally - contrary to the existing tradition of depicting the faces of those portrayed in profile, including on medals and coins.

4 slide

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Altar of Saint Job At the foot of the high throne, on which the Madonna and Child solemnly sits, blessing those who came to worship her, there are angels playing music (Saint Job was considered one of the patrons of music). The figures are made in life size. Bellini placed two naked saints, Giobbe and Sebastian, on the flanks of Mary's throne, next to them were Saints John the Baptist, Dominic and Louis of Toulouse. The architecture and decor of the apse, covered with gold smalt, are reminiscent of the Cathedral of San Marco. On a golden background the words are clearly readable: “Ave, pure flower of virgin chastity.”

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Giorgione. Giorgione “Self-Portrait” (1500-1510) Another representative of the Venetian school of painting; one of the greatest masters of the High Renaissance. His full name is Giorgio Barbarelli da Castelfranco, after the name of a small town near Venice. He was a student of Giovanni Bellini. He was the first of the Italian painters to introduce landscape, beautiful and poetic, into religious, mythological and historical paintings.

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Judith Judith, or Judith (Hebrew: Yehudit, feminine version of the name Judah, “praise be to Jehovah”) is a character in the Old Testament deuterocanonical “Book of Judith,” a Jewish widow who saved her hometown from the invasion of the Assyrians. After Assyrian troops besieged her hometown, she dressed up and went to the enemy camp, where she attracted the attention of the commander. When he got drunk and fell asleep, she cut off his head and brought it to his hometown, which was thus saved

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Sleeping Venus in this work with great humanistic completeness and almost ancient clarity revealed the ideal of the unity of the physical and spiritual beauty of man. Surprisingly chaste, despite her nakedness, “Sleeping Venus” is in the full sense an allegory, a symbolic image of Nature.

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Slide description:

Storm. The main character in this picture is a thunderstorm. The artist set the background to the brilliance of a lightning-shaped arrow, which flashed in the air like a snake. Immediately on the right and left, the foreground displays female and male figures. A woman feeds a child. She barely has any clothes on. The picture is full of diversity. Wildlife makes itself felt everywhere http://opisanie-kartin.com/opisanie-kartiny-dzhordzhone-g

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Titian Titian “Self-Portrait” (circa 1567) Titian Vecellio is an Italian Renaissance painter. He painted paintings on biblical and mythological subjects, as well as portraits. Already at the age of 30 he was known as the best painter in Venice. Titian was born into the family of statesman and military leader Gregorio Vecellio. The exact date of his birth is unknown. At the age of 10 or 12, Titian came to Venice, where he met representatives of the Venetian school and studied with them. Titian's first works, carried out jointly with Giorgione, were frescoes in the Fondaco dei Tedeschi, of which only fragments have survived.

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Love Earthly and Heavenly The plot of the picture still causes controversy among art critics. According to the 19th-century Viennese art historian Franz Wickhoff, the scene depicts a meeting between Venus and Medea, who is persuaded by the goddess to help Jason. According to another version, the plot is borrowed from Francesco Colonna’s book, Hypnerotomachia Poliphilus, popular at that time. Against the backdrop of a sunset landscape, a richly dressed Venetian woman sits at the source, holding a mandolin with her left hand, and a naked Venus holding a bowl of fire. According to S. Zuffi, a dressed girl personifies love in marriage; The color of her dress (white), the belt, the gloves on her hands, the myrtle wreath crowning her head, her flowing hair and roses indicate marriage. In the background there is a pair of rabbits - a wish for large offspring. This is not a portrait of Laura Bagarotto, but an allegory of a happy marriage. //

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Slide description:

Bacchus and Ariadne Ariadne, abandoned by Theseus on the island of Naxos, came to console Bacchus. Titian depicts the moment of the first meeting of the heroes. Bacchus emerges from the forest thicket with his numerous retinue and rushes towards Ariadne, who is frightened of him. In this compositionally complex scene, all the characters and their actions are explained by ancient texts. Bacchus' retinue performs their rituals: one satyr demonstrates how snakes are entwined around him, another swings a calf's leg, and a baby satyr drags the animal's head behind him.

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The Penitent Mary Magdalene Tiziano Vecellio wrote his work “The Penitent Mary Magdalene” to order in the 60s of the 16th century. The model for the painting was Julia Festina, who amazed the artist with her shock of golden hair. The finished canvas greatly impressed the Duke of Gonzaga, and he decided to order a copy of it. Later, Titian, changing the background and posing of the woman, wrote a couple more similar works.

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Saint Sebastian "Saint Sebastian" is one of the best works of the painter. Titian's Sebastian is a proud Christian martyr who, according to legend, was shot with a bow on the orders of Emperor Diocletian for refusing to worship pagan idols. Sebastian's powerful body is the embodiment of strength and defiance; his gaze does not express physical torment, but a proud challenge to his tormentors. Titian achieved a unique effect of shimmering color not only with the help of a color palette, but also using the texture of paints and the relief of strokes

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“Behold the Man” This painting is considered Titian’s masterpiece. It is written on a gospel plot, but the artist skillfully transfers the gospel events into reality. Pilate stands on the steps of the stairs and, with the words “behold the man,” betrays Christ to be torn to pieces by the crowd, which includes warriors and young men of a noble family, horsemen and even women with children. And only one person realizes the horror of what is happening - the young man in the lower left corner of the picture. But he is nothing before those who have power over Christ at the moment... 1543). Canvas, oil. 242x361 cm. Kunsthistorisches Museum, Vienna

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Tintoretto (1518/19-1594) Tintoretto “Self-Portrait” His real name is Jacopo Robusti. He was a painter of the Venetian school of the late Renaissance. He was born in Venice and received the nickname Tintoretto (little dyer) by profession from his father, who was a dyer (tintore). He discovered his ability to paint early. For some time he was a student of Titian. The distinctive qualities of his work were the lively drama of the composition, the boldness of the drawing, the peculiar picturesqueness in the distribution of light and shadows, the warmth and strength of the colors.

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Paolo Veronese Aolo Veronese was born in 1528 in Verona. He was the fifth son in the family. He studied with his uncle, the Venetian artist Badile, and worked in Verona and Mantua. In 1553, Veronese was engaged in decorating the Doge's Palace. At the age of 27 he was called to Venice to decorate the sacristy of the Stasenko Church. In 1560, Veronese visited Rome, where he painted Saint Veronica in the village of Maser near Vicenza. In 1566 he married the daughter of his teacher Antonio Badile. In 1573, Veronese was accused by the Inquisition, but managed to acquit himself and was only forced to correct and exclude some figures in one of his paintings

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Lamentation of Christ He made the composition laconic and simple, which enhanced the expressiveness of the three figures that make it up: the dead Christ, the Mother of God bending over him and the angel. Subtle, muted colors are combined into a beautiful range of greenish, lilac-cherry, gray and white tones, softly shimmering in the light and seeming to fade in the shadows. Veronese painted the Lamentation for the Church of San Giovanni e Paolo in Venice between 1576 and 1582. In the first half of the 17th century, it was bought by the English king Charles I. Subsequently, the painting in the church was replaced by a copy of the work of Alessandro Varotari (Padovanino).