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BELL GORGOE T T A
and the Renaissance o Venetian Painting
Gy A, WhJ 18 pb 17, 2006
t x mad p y ba,
a aa ad da ma.
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Sacred Images and Stories
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b h Lives o the Artists (1568) h G,
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Adoration o the Shepherds (fig. 2). By p h f , G
Venetian painters materials were
transormed in the early sixteenth
century, when canvas replaced wood
panel as the preerred support and theoil medium, introduced in Venice in the
1470s, largely displaced tempera. Using
egg yolk to bind pigments, tempera
dries to a semi-matte state, whereas
oil paint retains its translucency and
produces colors o greater richness
and depth. Venetian painters also
used pigments previously employed in
manuscript illumination orpiment and
realgar to produce the glowing orangeand yellow tones seen, or example, in
Josephs robe in Giorgiones Adoration
of the Shepherds(fig. 2). To add even
more brilliance and luminosity to their
paintings, artists sometimes mixed their
pigments with pulverized glass.
Artists MAteriAls
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h w y, h Virgin and Child with Saints Catherine
and Dominic (fig. 3). Uk B h, b h, T hy
w wy h h z h, wh D h -
f h p y p w h p
h. h p (h
3
2
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4
w y h h y D 1221) j -
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v) h b p p. V, T
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Pictures o omen
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Laura (fig. 4). Th b-b f by bh p
b, T Flora (cover). Th y,
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llegories a nd tologies
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5
In 1568 the artist and art historian
Giorgio Vasari wrote in his Lives of the
Artiststhat the Venetians did not make
preliminary drawings or their paintings.
The recent use o inrared reectog-
raphy to study Venetian paintings has
orced a revision o this view. Inrared
reectograms, which allow us to peer
beneath the paint surace, reveal that
Venetian painters oten drew directly on
the canvas instead o making numerousstudies on paper. The inrared images
show that Giorgione and Titian used
uid brushstrokes to indicate the place-
ment and shape o the fgures and their
settings (fig. A). Such drawings provided
only a guideline; x-rays o paintings,
called x-radiographs, expose underlying
paint layers which demonstrate that the
creative process continued in the course
o painting. Artists experimented with
dierent poses and compositions, add-
ing and eliminating details, such as the
exotic headdress in Giorgiones Three
Philosophers(fig. b), which was painted
out in the fnal composition.
A b
technicAl PhotogrAPhs
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6
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8
7
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Myh , b yph, hy y
pp h p p p by B T
Dk A E p F. B p h Feast o the Gods
(fig. 7) h 1514, v y h h 1516, h k
T p h Bacchanal o the Andrians (fig. 8). p by
p p, T py h hppy k
z h A, wh v w w ppy. L,
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by. h vy pbby b h p vp
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Portraits o en
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Vh Portrait o a Poet (fig. 9) ypy h pph.
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9 10
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Man in Armor (fig. 10), whh h j
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w pz by V, wh hy w wy vb
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b v v wh . Th yh p
h Man with a Glove (fig . 11) y . Thh h
y kw, h pby b h F Gz
M, wh b, h h p B
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b h p wh p by
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11
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LT OF LLUTRATO
fig. 1 Gv B, Virgin with the BlessingChild, 1510, B, M (. 1)
fig. 2 G, Adoration o the Shepherds
(Allendale Nativity), . 1500, Gy A, Wh, . K (. 17)
fig. 3 T, Virgin and Child with SaintsCatherine o Alexandria and Dominic and aDonor, . 1513 1514, Fz M-R, (. 10)
fig. 4 G, Portrait o a Woman(Laura), 1506, Khh M,
G, V (. 38)
fig. 5 G, Three Philosophers, . 1506,Khh M, G,V (. 30)
fig. 6 T, Pastoral Concert (ConcertChamptre), . 1510, M Lv,Dp , (. 31)
fig. 7 Gv B T, Feast o the
Gods, 1514 1529, Gy A,Wh, W (. 32)
fig. 8 T, Bacchanal o the Andrians,1522 1524, M , M(. 33)
fig. 9 Vh, Portrait o a Poet, . 1520,Th Gy, L (. 52)
fig. 10 b b, Man in Armor,
. 1511/1512, Wwh Ah M A, , Th E Gp My F (. 51)
fig. 11 T, Man with a Glove, . 1523/1524,M Lv, Dp , (. 56)
fig. A h V T Virgin and Child (GypsyMadonna), . 1511,Khh M,
G, V (. 2)
fig. b X-ph h h h y G Three Philosophers
cover T, Flora, . 1520, G Ufz, F (. 42)
ROGRAM
concerts in honor of the eXhibition
y, 6:30 p, W B,W G wh h
Wh Ey M Fv
Ju 18
Gy V A EbR Lx, M R V hb h
Ju 25
Dw M, , Tp M
V h R y bq p
lectUres with live MUsic
Thy, J 29 A 3, 12:00 W B, L
Music and Art in Renaissance VeniceR , ph Ak, hph
sUnDAY lectUres
E B A, 2:00 p
Ju 18
The Renaissance o Venetian Painting:An Introduction to the ExhibitionDv A Bw, p, Gy AA bk w w.
Ju 25
The Renaissance Studiolo: Reading, Collecting,and the Invention o Mythological Paintingph pb, p, hy , ThJh pk UvyA bk w w.
spm 10
Double Lecture ProgramDbh w, h h Dp hy A, Uvy b;
J hz, A V. Rh y A Ah, E,Bw Uvy
7/30/2019 Bellini Giorgione Titian and the Renaissance of Venetian Painting
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PUblic sYMPosiUM
pb 16, 10:30 4:30 ppb 17, 1:004:30 pE B A
Reconsidering Venetian Renaissance Painting
by h VR p p whh z h xhb
sUMMer lectUre series
y, Jy 9 A 27, 2:00 pE B A
Five Hundred Years o Art in Venice:Achievement, Allure, and Infuence
Jy 9, Giovanni Bellinis Feast o the Gods inContext, R
Jy 16, Getting Your Feet Wet: An Introductionto Venice, E Dk
Jy 23, Gentile Bellini at the Court oMehmed II, hp L
Jy 30, Visions and Realities, Nineteenth-Century British Artists and the Lure o Venice,D Ak
A 6, The Lure o the Sun: Nineteenth-Century German Painters in Italy, hphWh
A 13, Monet and the Impressionists inVenice, E Dk
A 20, Venice in Film: Art, Love, and Deathin La Serenissima, Dv G
A 27, The Venice Biennale: The Grandest
o Spectacles, y hb
gUiDeD toUrs
Bellini, Giorgione, Titian, and the Renaissanceo Venetian Painting, R DvG, J 26, 27, 30 Jy 12, 14, 18, 20, 24,12:00 ; A 16, 23, 25, 29, 1:00 p
Grand-Tour View Paintings rom Rome, Venice,and Saxony, hp L, J 9, 11, 14, 16,
1:00 pVenetian Views: The Art o Canaletto, Bellotto,Guardi, Dv G, J 21, 25, 27, 29, 1:00 p
v q. 202.842.6247 p p(20 ).
filM ProgrAMs
Festival o Classic Italian CinemaTh ppy vw 35 p v f, wk by F, R, V. www.nga.gov h .
AUDio gUiDe
by Gy E A.w , wh Dv A Bw, p, Gy A;Dbh w, h h Dp hy A, Uvy b; y, p h h Ay, Uvy Aw.
: $5:00, h h xhb. Tv p, 202.842.6592.
on the web
http://www.nga.gov/exhibitions/renaissanceino.htm
cAtAlogUe
Bellini, Giorgione, Titian, and the Renaissanceo Venetian Painting, by Dv A
Bw yv F-. by h Gy A hKhh M, V, pbh wh Y Uvy. 352 p. v $45; hv $65.
generAl inforMAtion
: My y, 10:00 5:00 p;y, 11:00 6:00 p. Gy Wb: www.nga.gov. F b
by, v v, - p, h v,q h A Dk, h Wb , 202.842.6690 (tdd 202.842.6176).
A h Gy A p h, xp .
Th xhb w z by h Gy A, Wh, h K-
hh M, V.
pp by y h F h A h .
Bh pp by M. Ab,Dp Exhb , p by h bh Of.pyh 2006 B T, Gy A, Wh.
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