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Unique natural conditions largely determined the characteristic features of Venetian architecture. The city, located on 118 islands, is divided by 160 canals, over which about 400 bridges are thrown. Most of the buildings here are built on stilts, the houses are pressed closely together.

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In the volume of a wonderful panorama, Floating palaces and temples, As if ships were anchored, As if they were waiting for a fair wind to stir their sails! The venerable beauty looks thoughtfully and vaguely at the Palaces! On their walls there is centuries-old handwriting, But their charms have no price, When their outline is drawn Under the white glow of the moon. The chisel gave these gloomy strongholds softness, convexity and edge, And their stone fabric shines through like transparent lace. How mysterious everything is, how strange In this kingdom of wondrous beauty: The shadow of a poetic dream constantly falls on everything... P. A. Vyazemsky. "Photography of Venice"

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Jacopo Sansovino Library of San Marco 1536 Venice. With the participation of the famous architect Jacopo Sansovino (1486-1570), a student of Bramante, the formation of the city was completed. He built the building of the new library of San Marco here. The two-story building with an openwork facade was decorated with antique order arcades. On the ground floor behind the gallery there were retail premises, and on the second floor there was the library itself. Large arches, sculptural decorations, reliefs on friezes - all this gives the building a special elegance and festivity.

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The largest architect of Venice was 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.

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Doge's Palace in Venice The palace housed not only the home quarters of the head of the city, the Doge. But also city and courtrooms, a prison. And also the gigantic Sala del Maggiorio Consiglio - the residence of the elected people's representatives of the Venetian parliament. The openwork pattern in the form of a lattice gives an oriental impression, but opening the façade through arcades already had a long tradition in Venice, reaching its peak in the construction of late Gothic palaces.

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Ca 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, prosecutor of the Cathedral of San Marco. Its name arose because initially the ornament and sculptural decorations were gilded. The impression was further enhanced 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) Giovanni Bellini (c. 1430-1516) is rightfully considered the founder of the Venetian school of painting, 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 his contemporaries - eminent citizens of Venice who dreamed of seeing themselves captured on the canvases of the great master.

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Take a closer look at the extremely expressive features of Doge Leonardo Loredano, head of the government of the Republic of Venice. Concentrated and calm, the Doge is depicted in great detail - from the deep wrinkles on his aged face to the rich brocade of his clothes. Thin facial features and 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 masterfully managed to embody the features of a man who went down in history as a persecutor of science and enlightenment. 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 in particular - 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 color 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 him as an artist born to breathe life into figures...”

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Giorgione. Judith. 1502 The beautiful and meek Judith is not at all warlike. Her gaze is turned to the ground, and in her humble pose there is no hint of cruelty or violence. On the contrary, she is perceived as personifying the highest justice and mercy. Has the artist really forgotten about the biblical story? The only thing that reminds of him is the creepy trophy that Judith carefully tramples under her foot! We find it hard to believe that this woman could commit such a brutal murder. Judith does not enjoy the victory, but closed her eyes and listens, smiling slightly 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 is enhanced by the lyrical landscape. A gentle airy background, a barely pink morning sky, a powerful tree trunk cut off by the edge of the frame, and carefully drawn vegetation are designed to create an elegiac mood and draw attention to the psychological aspect of the biblical legend.

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Giorgione. Sleeping Venus. 1507"-1508. A true masterpiece of Giorgione's work is “Sleeping Venus” - one of the most perfect female images of the Renaissance. In the middle of a hilly meadow on a dark red blanket lies the ancient goddess of love and beauty Venus.

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Giorgione. Sleeping Venus. 1507"-1508 Picture gallery, Dresden She sleeps serenely. The picture of nature gives a special sublimity and chastity to this image. Behind Venus, on the horizon, there is a spacious sky with white clouds, a low ridge of blue mountains, a gentle path leading to an area overgrown with vegetation hill. A steep rock, a bizarre profile of a hill, echoing the outlines of the figure of a goddess, a group of seemingly uninhabited buildings, grass and flowers in a meadow were carefully created by the artist. Looking at this picture, I want to repeat after A. S. Pushkin: Everything in it is harmony, everything is marvelous , All above the world and passions. She rests bashfully In her solemn beauty. Impressed by Giorgione’s “Sleeping Venus,” artists of different generations - Titian and Durer, Poussin and Velazquez, Rembrandt and Rubens, Gauguin and Manet - created their works on this subject.

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The artistic world of Titian Spanish artist of the 17th century. Diego Velazquez wrote: “In Venice there is all the perfection of beauty! I give first place to painting, of which Titian is the standard-bearer.” 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 a mosaicist's workshop, studied in Venice with Bellini, and later became Giorgione's assistant. The creative heritage of the artist, who had an ebullient temperament and amazing hard work, is extensive. Working in a variety of genres, he managed to express the spirit and mood of his era.

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What was Titian like? Look at his self-portrait (1567-1568), made at the age of 90. We see a tall old man with large, masculine features. He slouched slightly under the weight of his dark, folded clothing. A narrow strip of collar cuts like a ray into a lush silver beard. The black cap emphasizes the intensity of his strong profile. The fingers of the right hand gently squeeze the fragile hand. Undoubtedly, before us is an active, creative nature, full of thirst for life. The artist leaned forward, as if peering into the face of his interlocutor. The penetrating gaze of a man wise by life experience is majestic and calm. The black robe is rich and elegant, it harmoniously combines with the silver color scheme of the overall color. A great many studies have been written about Titian's mastery of color. cyanogen. 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 happens in nature itself” (L. Dolce).

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“Venus of Urbino” is a true masterpiece of the artist. Contemporaries said about this painting that Titian, unlike Giorgione, under whose influence he was undoubtedly, “opened the eyes of Venus and we saw the wet gaze of a woman in love, promising great happiness.” Indeed, he glorified 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 toiletries for their mistress out of a large chest. At the feet of Venus, curled up in a ball, a small dog is dozing. Everything is ordinary, simple and natural, and at the same time sublimely symbolic.

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The face of a woman lying on a sleeping bed is beautiful. Proudly and calmly, she looks straight 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 slenderness and warmth of her elastic body. The red fabric under the sheet, the red curtain, the red clothes of one of the maids, and carpets of the same color create a hot and vibrant color. The picture is full of symbolism. Venus is the goddess of marital love, many details speak about this. A vase with myrtle on the window symbolizes constancy, a rose in Venus’s hand is a sign of long-term love, and a dog curled up at her feet is a traditional symbol of fidelity.

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“Penitent Mary Magdalene” Titian’s painting “Penitent Mary Magdalene” depicts a great sinner who once washed the feet of Christ with her tears and was generously forgiven by him. From then on, 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 prays earnestly, turning her gaze to heaven. Her tear-stained face, waves of thick flowing hair, the expressive gesture of a beautiful hand pressed to her chest, simple clothes were painted by the artist with special care and skill. A glass jug and a skull are depicted nearby - 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. Titian. Penitent Mary Magdalene. Around 1565 State Hermitage Museum, St. Petersburg

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“Portrait of a Young Man with a Glove” is one of Titian’s best creations. The prevailing strict, dark tones are designed to enhance the feeling of anxiety and tension. The hands and face caught in the light allow you to take a closer look at the person being portrayed. Undoubtedly, before us is 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 thought about life, the mental turmoil of a brave and determined man. A tense look “inward” indicates a tragic discord of the soul, a painful search for one’s “I.” In the last years of his life, having perfectly mastered the element of color, Titian worked in a special manner. Here's how one of his students talked about it:

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Titian worked in a special manner. Here's how one of his students talked about 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 have seen such energetically made underpaintings, executed with a thickly saturated brush, either in a pure red tone, which was intended to outline the halftone, or with white. With the same brush, dipping it in red, then black, then yellow paint, he developed the relief illuminated parts. With the same great skill, with the help of only four colors, he evoked from oblivion the promise of a beautiful figure... He made the final retouches with light blows of his fingers, smoothing out the transitions from the brightest highlights to halftones and rubbing one tone into another. Sometimes with the same with his finger he applied a thick shadow in some corner to enhance this place... Towards the end he truly painted more with his fingers than with a brush.”

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Unique natural conditions largely determined the characteristic features of Venetian architecture. The city, located on 118 islands, is divided by 160 canals, over which about 400 bridges are thrown. Most of the buildings here are built on stilts, the houses are pressed closely together.

In the volume of a wonderful panorama, Floating palaces and temples, As if ships were anchored, As if they were waiting for a fair wind to stir their sails! The venerable beauty looks thoughtfully and vaguely at the Palaces! On their walls there is centuries-old handwriting, But their charms have no price, When their outline is drawn Under the white glow of the moon. The chisel gave these gloomy strongholds softness, convexity and edge, And their stone fabric shines through like transparent lace. How mysterious everything is, how strange In this kingdom of wondrous beauty: The shadow of a poetic dream constantly falls on everything... P. A. Vyazemsky. "Photography of Venice"

Jacopo Sansovino Library of San Marco 1536 Venice. With the participation of the famous architect Jacopo Sansovino (), a student of Bramante, the formation of the city was completed. He built the building of the new library of San Marco here. The two-story building with an openwork facade was decorated with antique order arcades. On the ground floor behind the gallery there were retail premises, and on the second floor there was the library itself. Large arches, sculptural decorations, reliefs on the friezes - all this gives the building a special elegance and festivity.

Jacopo Sansovino. Library of San Marco, Venice

Andrei Palladio. Villa "Rotunda"

The largest architect of Venice was Andrea Palladio (), 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.

The palace housed not only the home quarters of the head of the city, the Doge. But also city and courtrooms, a prison. And also the gigantic Sala del Maggiorio Consiglio - the residence of the elected people's representatives of the Venetian parliament. The openwork pattern in the form of a lattice gives an oriental impression, but opening the façade through arcades already had a long tradition in Venice, reaching its peak in the construction of late Gothic palaces.

Ca d'Oro. Venice

“The 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, prosecutor of the Cathedral of San Marco. Its name arose because initially the ornament and sculptural decorations were gilded. The impression was further enhanced by the fact that the house, shining with blue and red colors, was reflected in the waters of the canal.

Giovanni Bellini (ok) Giovanni Bellini (ok) is rightfully considered the founder of the Venetian school of painting, 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 of eminent citizens of Venice, who dreamed of seeing themselves captured on the canvases of the great master.

Take a closer look at the extremely expressive features of Doge Leonardo Loredano, head of the government of the Republic of Venice. Focused and calm, the Doge is depicted in great detail, from the deep wrinkles on his aged face to the rich brocade of his clothing. Thin facial features and 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 masterfully managed to embody the features of a man who went down in history as a persecutor of science and enlightenment. Giovanni Bellini. Portrait of the Doge Leonardo Loredano National Gallery, London

Bellini had many students to whom he generously passed on his rich creative experience. Among them, two artists Giorgione and Titian especially stood out. The life of Giorgione (1476/), 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 color 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 him as an artist born to breathe life into figures...”

Giorgione. Judith g

The beautiful and meek Judith is not at all warlike. Her gaze is turned to the ground, and in her humble pose there is no hint of cruelty or violence. On the contrary, she is perceived as personifying the highest justice and mercy. Has the artist really forgotten about the biblical story? The only thing that reminds of him is the terrible trophy that Judith carefully tramples underfoot! We find it hard to believe that this woman could commit such a brutal murder. Judith does not enjoy the victory, but closed her eyes and listens, smiling slightly 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 is enhanced by the lyrical landscape. A gentle airy background, a barely pink morning sky, a powerful tree trunk cut off by the edge of the frame, and carefully drawn vegetation are designed to create an elegiac mood and draw attention to the psychological aspect of the biblical legend. Giorgione. Judith Mr.

A true masterpiece of Giorgione’s work is “Sleeping Venus,” one of the most perfect female images of the Renaissance. In the middle of a hilly meadow, the ancient goddess of love and beauty, Venus, lies on a dark red blanket. Giorgione. Sleeping Venus. 1507"1508

Giorgione. Sleeping Venus. 1507"1508 Picture gallery, Dresden She sleeps serenely. The picture of nature gives a special sublimity and chastity to this image. 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. The sheer cliff, the bizarre profile of the hill, echoing the outlines of the goddess’s figure, the group of seemingly uninhabited buildings, the grass and flowers in the meadow were carefully executed by the artist. Looking at this picture, I want to repeat after A. S. Pushkin: Everything in it is harmony, everything is marvelous, Everything above the world and passions. She rests bashfully In her solemn beauty. Impressed by Giorgione’s “Sleeping Venus,” artists of different generations, Titian and Durer, Poussin and Velazquez, Rembrandt and Rubens, Gauguin and Manet, created their works on this subject.

The artistic world of Titian Spanish artist of the 17th century. Diego Velazquez wrote: “Venice has all the perfection of beauty! I give first place to painting, of which Titian is the standard-bearer.” Titian lived a long (almost a century!) life () 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 a mosaicist's workshop, studied in Venice with Bellini, and later became Giorgione's assistant. The creative heritage of the artist, who had an ebullient temperament and amazing hard work, is extensive. Working in a variety of genres, he managed to express the spirit and mood of his era.

Titian. Self-portrait of Messrs. Prado, Madrid

What was Titian like? Look at his self-portrait (), made at the age of 90. We see a tall old man with large, masculine features. He slouched slightly under the weight of his dark, folded clothing. A narrow strip of collar cuts like a ray into a lush silver beard. The black cap emphasizes the intensity of his strong profile. The fingers of the right hand gently squeeze the fragile hand. Undoubtedly, before us is an active, creative nature, full of thirst for life. The artist leaned forward, as if peering into the face of his interlocutor. The penetrating gaze of a man wise by life experience is majestic and calm. The black robe is rich and elegant, it harmoniously combines with the silver color scheme of the overall color. A great many studies have been written about Titian's mastery of color. cyanogen. Self-portrait of Messrs. Prado, Madrid “In color it has no equal... it keeps pace with nature itself. In his paintings, color competes and plays with shadows, as happens in nature itself” (L. Dolce).

"Venus of Urbino" is a true masterpiece of the artist. Contemporaries said about this painting that Titian, unlike Giorgione, under whose influence he was undoubtedly, “opened the eyes of Venus and we saw the wet gaze of a woman in love, promising great happiness.” Indeed, he glorified 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 toiletries for their mistress out of a large chest. At the feet of Venus, curled up in a ball, a small dog is dozing. Everything is ordinary, simple and natural, and at the same time sublime and symbolic.

The face of a woman lying on a sleeping bed is beautiful. Proudly and calmly, she looks straight 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 slenderness and warmth of her elastic body. The red fabric under the sheet, the red curtain, the red clothes of one of the maids, and carpets of the same color create a hot and vibrant color. The picture is full of symbolism. Venus is the goddess of marital love, many details speak about this. A vase with myrtle on the window symbolizes constancy, a rose in Venus’s hand is a sign of long-term love, and a dog curled up at her feet is a traditional symbol of fidelity.

“Penitent Mary Magdalene” Titian’s painting “Penitent Mary Magdalene” depicts a great sinner who once washed the feet of Christ with her tears and was generously forgiven by him. From then on, 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 prays earnestly, turning her gaze to heaven. Her tear-stained face, waves of thick flowing hair, the expressive gesture of a beautiful hand pressed to her chest, simple clothes were painted by the artist with special care and skill. A glass jug and a skull are depicted nearby, 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. Titian. Penitent Mary Magdalene. Circa 1565 State Hermitage Museum, St. Petersburg “Portrait of a Young Man with a Glove” is one of Titian’s best creations. The prevailing strict, dark tones are designed to enhance the feeling of anxiety and tension. The hands and face caught in the light allow you to take a closer look at the person being portrayed. Undoubtedly, before us is a spiritualized personality, which is characterized by intelligence, nobility, and at the same time the bitterness of doubts and disappointments. In the eyes of the young man there is an anxious thought about life, the mental turmoil of a brave and determined man. A tense look “inward” indicates a tragic discord of the soul, a painful search for one’s “I.” In the last years of his life, having perfectly mastered the element of color, Titian worked in a special manner. Here's how one of his students talked about it:

Titian worked in a special manner. Here's how one of his students talked about 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 have seen such energetically made underpaintings, executed with a thickly saturated brush, either in a pure red tone, which was intended to outline the halftone, or with white. With the same brush, dipping it in red, then black, then yellow paint, he developed the relief illuminated parts. With the same great skill, with the help of only four colors, he evoked from oblivion the promise of a beautiful figure... He made the final retouches with light blows of his fingers, smoothing out the transitions from the brightest highlights to halftones and rubbing one tone into another. Sometimes with the same with his finger he applied a thick shadow in some corner to enhance this place... Towards the end he truly painted more with his fingers than with a brush.”

The Renaissance The Renaissance in Venice is a separate and unique part of the all-Italian Renaissance. It began here later, lasted longer, the role of ancient trends in Venice was the least, and the connection with the subsequent development of European painting was the most direct. The Venetian Renaissance can and should be discussed separately. The position of Venice among other Italian regions can be compared with the position of Novgorod in medieval Rus'. It was a rich, prosperous patrician merchant republic that held the keys to maritime trade routes. The winged lion of St. Mark - the coat of arms of Venice - reigned over the waters of the Mediterranean Sea, gold flowed from all over the earth into the Venetian lagoon. Veronese and Tiepolo depicted Venice in the form of a magnificent blond beauty, dressed in red velvet and ermine fur, showered, like Danaë, with golden rain. The sacred lion of the apostle humbly and devotedly, like a dog, lies at her feet.

It is especially easy to imagine merry Venice from the paintings of Canaletto, an 18th-century artist: he depicted these traditional carnivals and celebrations with documentary accuracy. Square of St. The brand is crowded with a crowd, black and gilded bird gondolas scurry across the green waters of the lagoon, banners flutter, scarlet canopies and cloaks flash brightly, black half masks flash. Above everything rises and dominates the fabulous, lace, decorated and multi-colored architecture of the Cathedral of St. Mark and the Doge's Palace.

The fruit of the broad sociability of Venice was the Cathedral of St. Marka is this unprecedented architectural monument, where the layers of approximately seven centuries, starting from the 10th century, are combined into an unexpectedly harmonious, enchantingly beautiful whole, where columns taken from Byzantium, Byzantine mosaics, ancient Roman sculpture, and Gothic sculpture coexist peacefully. The Doge's Palace is a no less whimsical building: it is the so-called Venetian Gothic, combining a Gothic pointed arcade at the bottom with a massive smooth block at the top, covered with an Arabic pattern of white and red slabs. Venice developed its own style, drawing from everywhere, gravitating towards colorfulness, towards romantic picturesqueness. As a result, this city on the islands, where palaces stretch along the Grand Canal, reflected in its waters, where, in fact, the only vast “land” is St. Mark, became like a box filled to overflowing with all kinds of jewelry.

It should be noted that the Venetian Cinquecento artists were people of a different type than the masters of other regions of Italy. Not involved in scientific humanism, they were not as versatile as the Florentines or Paduans - they were narrower professionals in their art - painting. Great patriots of Venice, they usually did not move anywhere or travel, remaining faithful to the “Queen of the Adriatic,” who rewarded them well. And therefore, the Venetian school, despite the difference in artistic individuals, had many common generic traits peculiar to it, and only to it, passed on from father to son, from brother to brother in large artistic families. The work of the Venetians was reflected in the stability of the environment, everyday life, landscape, and type. We recognize in all their paintings the atmosphere of Venice by the abundance of festive, feasting motifs, by the through balustrades of the palaces, by the red velvet robes of the Doges, and by the golden hair of women.

Paolo Veronese can be considered the most typical artist of festive Venice. He was a painter, and only a painter, but he was a painter to the core, a lion of painting, wildly talented and simple-minded in his art with that magnificent innocence of a generous talent that always captivates and is able to atone for much that is missing. The full scope of Veronese’s cheerful talent is palpable in his large, crowded compositions, which were called “The Marriage in Cana of Galilee”, “The Feast in the House of Levi”, “The Last Supper”, but were nothing more than colorful spectacles of drunken and sumptuous dinners in Venetian palazzos, with musicians, jesters, dogs.

Creatively revised principles of the ancient order system were established in architecture, and new types of public buildings emerged. Painting was enriched by linear and aerial perspective, knowledge of the anatomy and proportions of the human body. Earthly content penetrated into the traditional religious themes of works of art. Interest in ancient mythology, history, everyday scenes, landscapes, and portraits increased. Along with the monumental wall paintings that decorated architectural structures, a painting appeared; oil painting originated

Venetian painting, distinguished by its richness and richness of color, reached a special flourishing. Pagan admiration for physical beauty was combined here with interest in the spiritual life of man. The sensory perception of the world was more direct than that of the Florentines, and caused the development of landscape.

Giorgione. The stage of the High Renaissance in Venice opens with the art of Giorgio Barbarelli da Castelfranco, nicknamed Giorgione (circa 1477–1510), who played the same role for Venetian painting as Leonardo did for Central Italian painting.

Compared to the clear rationality of Leonardo's art, Giorgione's painting is imbued with deep lyricism and contemplation. The landscape, which occupies a prominent place in his work, contributes to the revelation of the poetry and harmony of his perfect images. The harmonious connection between man and nature is an important feature of Giorgione’s work. Having formed among humanists, musicians, poets, and an extraordinary musician himself, Giorgione finds the most subtle musicality of rhythms in his compositions. Color plays a huge role in them. Sound colors, applied in transparent layers, soften the outlines. The artist masterfully uses the properties of oil painting. The variety of shades and transitional tones helps him achieve unity of volume, light, color and space. Among his early works, “Judith” (circa 1502, St. Petersburg, Hermitage) attracts with its gentle dreaminess and subtle lyricism. The biblical heroine is depicted as a young beautiful woman against the backdrop of quiet nature. However, a strange, alarming note is introduced into this seemingly harmonious composition by the sword in the heroine’s hand and the severed head of the enemy trampled upon by her.

In the paintings “The Thunderstorm” (circa 1505, Venice, Accademia Gallery) and “Rural Concert” (circa 1508–1510, Paris, Louvre), the subjects of which remained unidentified, the mood is created not only by people, but also by nature: pre-storm - in the first and calmly radiant, solemn - in the second. Against the background of the landscape, people are depicted, immersed in thought, as if waiting for something or playing music, forming an inextricable whole with the nature around them.

The combination of the ideal and harmonious with the concrete and individual in the characteristics of a person distinguishes the portraits painted by Giorgione. Attracts with the depth of thought, nobility of character, dreaminess and spirituality of Antonio Brocardo (1508–1510, Budapest, Museum of Fine Arts). The image of perfect sublime beauty and poetry receives its ideal embodiment in “Sleeping Venus” (circa 1508–1510, Dresden, Picture Gallery). She is presented against the backdrop of a rural landscape, immersed in a peaceful sleep. The smooth rhythm of the linear outlines of her figure subtly harmonizes with the soft lines of the gentle hills, with the thoughtful calm of nature. All contours are softened, plasticity is ideally beautiful, gently modeled forms are proportionally proportionate. Subtle nuances of golden tone convey the warmth of a naked body. Giorgione died in the prime of his creative powers from the plague, without completing his most perfect painting. The landscape in the painting was completed by Titian, who also completed other orders entrusted to Giorgione.

Titian. For many years, the art of its head, Titian (1485/1490–1576), determined the development of the Venetian school of painting. Along with the art of Leonardo, Raphael and Michelangelo, it seems to be the pinnacle of the High Renaissance. Titian's loyalty to humanistic principles, faith in the will, reason and capabilities of man, and powerful colorism give his works enormous attractive power. His work finally reveals the uniqueness of the realism of the Venetian school of painting. The artist’s worldview is full-blooded, his knowledge of life is deep and multifaceted. The versatility of his talent was manifested in the development of various genres and themes, lyrical and dramatic.

Unlike Giorgione, who died early, Titian lived a long, happy life, full of inspired creative work. He was born in the town of Cadore, lived all his life in Venice, and studied there - first with Bellini, and then with Giorgione. Only for a short time, having already achieved fame, he traveled at the invitation of clients to Rome and Augsburg, preferring to work in the ambiance of his spacious, hospitable home, where his humanist friends and artists often gathered, among them the writer Aretino and the architect Sansovino.

The Venetian Renaissance is a separate, unique part of the all-Italian Renaissance. It started here later, but lasted much longer. The role of ancient traditions in Venice was the smallest, and the connection with the subsequent development of European painting was the most direct. In Venice, painting dominated, which was characterized by bright, rich and joyful colors.

The era of the High Renaissance (in Italian it sounds like “Cinquecento”) in Venice occupied almost the entire 16th century. Many outstanding artists painted in the free and cheerful manner of the Venetian Renaissance.

The artist Giovanni Bellini became a representative of the transition period from the Early Renaissance to the High Renaissance. The famous painting belongs to him" Lake Madonna"is a beautiful painting that embodies dreams of a golden age or earthly paradise.

A student of Giovanni Bellini, the artist Giorgione is considered the first master of the High Renaissance in Venice. His canvas" Sleeping Venus"is one of the most poetic images of the naked body in world art. This work is another embodiment of the dream of simple-minded, happy and innocent people who live in complete harmony with nature.

There is a painting in the State Hermitage Museum "Judith", which also belongs to the brush of Giorgione. This work became a striking example of achieving a three-dimensional image not only with the help of chiaroscuro, but also with the use of light gradation.

Giorgione "Judith"

Paolo Veronese can be considered the most typical artist of Venice. His large-scale, multi-figure compositions depict lavish dinners in Venetian palazzos with musicians, jesters and dogs. There is nothing religious about them. "The Last Supper"- this is an image of the beauty of the world in simple earthly manifestations and admiration for the perfection of beautiful flesh.

Paolo Veronese "The Last Supper"

Titian's works

The evolution of Venetian painting by the Cinquecento was reflected in the work of Titian, who first worked together with Giorgione and was close to him. This was reflected in the artist’s creative style in the works “Heavenly Love and Earthly Love”, “Flora”. Titian's female images are nature itself, shining with eternal beauty.

- the king of painters. He made numerous discoveries in the field of painting, among which are the richness of color, color modeling, original forms and the use of nuances of colors. Titian's contribution to the art of the Venetian Renaissance was enormous; he had a great influence on the skill of painters of the subsequent period.

Late Titian is already close to the artistic language of Velazquez and Rembrandt: tonal relationships, spots, dynamic strokes, texture of the colorful surface. The Venetians and Titian replaced the dominance of line with the advantages of color array.

Titian Vecellio "Self-Portrait" (circa 1567)

Titsin's painting technique is amazing even today, because it is a mess of paints. In the hands of the artist, paints were a kind of clay from which the painter sculpted his works. It is known that towards the end of his life Titian painted his canvases using his fingers. so this comparison is more than appropriate.

Titian's Denarius of Caesar (circa 1516)

Paintings by Titian Vecellio

Among the paintings of Titian are the following:

• "Assunta"

• "Bacchus and Ariadne"

• "Venus of Urbino"

• "Portrait of Pope Paul III"

• "Portrait of Lavinia"

• "Venus in front of the mirror"

• "Penitent Magdalene"

• "Saint Sebastian"

Picturesqueness and feeling O Titian's three-dimensional forms are in complete balance. His figures are full of a sense of life and movement. The novelty of the compositional technique, unusual color, and free strokes are the distinctive features of Titian's painting. His work embodied the best features of the Venetian school of the Renaissance.

Characteristic features of Venetian Renaissance painting

The last luminary of the Venetian Cinquecento is the artist Tintoretto. His paintings are famous "Battle of the Archangel Michael with Satan" and "The Last Supper". Fine art embodied the Renaissance idea of ​​the ideal, faith in the power of the mind, the dream of a beautiful, strong person, a harmoniously developed personality.

Jacopo Tintoretto "The Battle of the Archangel Michael with Satan" (1590)
Jacopo Tintoretto "The Crucifixion"

Works of art were created on traditional religious and mythological subjects. Thanks to this, modernity was elevated to the rank of eternity, thus asserting the godlikeness of a real person. The main principles of depiction during this period were the imitation of nature and the reality of the characters. A painting is a kind of window into the world, because the artist depicts on it what he saw in reality.

Jacopo Tintoretto "The Last Supper"

The art of painting was based on the achievements of various sciences. Painters successfully mastered perspective images. During this period, creativity became personal. Works of easel art are becoming increasingly developed.

Jacopo Tintoretto "Paradise"

A genre system is emerging in painting, which includes the following genres:

• religious - mythological;
• historical;
• household landscape;
• portrait.

Engraving also appears during this period, and drawing plays an important role. Works of art are valued in themselves, as an artistic phenomenon. One of the most important sensations when perceiving them is pleasure. High-quality reproductions of paintings from the Venetian Renaissance will be a wonderful addition to your interior.