Concert Champetre mk86
c.1510/11
Oil on canvas
110x138cm
Paris,Musee National du Louvre
Giorgione La Tempesta Painting ID:: 33474 new9/Giorgione-687896.jpg
La Tempesta mk86
c.1510
Oil on canvas
78x72cm
Venice,Galleria dell'Accademia
Giorgione Die drei Philosophen Painting ID:: 34369 new10/Giorgione-268599.jpg
Die drei Philosophen mk92
1500
123.5x144.5cm
Wien
Kunsthistorisches Museum
Giorgione The storm Painting ID:: 39403 new12/Giorgione-769572.jpg
The storm mk148
Both columns remainder verwei sen in accordance with esoteric symbolism on the destroyed temple of the Salomo, what on a deeper mystical meaning refers directly clearly becomes as out of the simplicity of the scene
Judith mk159
Oil on canvas
transferred from panel
144x66.5cm
Giorgione THe Tempest Painting ID:: 41168 new16/Giorgione-976659.jpg
THe Tempest mk157
c.1510
Oil on canvas
68x59cm
Giorgione Three ways Painting ID:: 42660 new16/Giorgione-629856.jpg
Three ways MK169
ca. 1509 Cloth 121x141cm
Giorgione The Adoration of the Kings Painting ID:: 43029 new16/Giorgione-888736.jpg
The Adoration of the Kings mk170
1503-1504
Oil on wood
32x84.3cm
Giorgione Madonna with the Child, St Anthony of Padua and St Roch Painting ID:: 43526 new16/Giorgione-845484.jpg
Madonna with the Child, St Anthony of Padua and St Roch 1451-1500
Oil on canvas,
92 x 133 cm
Giorgione Old Woman Painting ID:: 43528 new16/Giorgione-648695.jpg
Old Woman 1451-1500
The description of the shrivelled flesh, the aged eyelids, the toothless mouth, retains nothing at all of the Nordic prototypes and uses colour alone to create an objectively naturalistic image with consummate skill.
Tempest 1451-1500
The vigour of cultural life at the beginning of the sixteenth century provided exactly the right fertile ground for the personality of Giorgione.
Giorgione Madonna and Child Enthroned between St Francis and St Liberalis Painting ID:: 44397 new16/Giorgione-535658.jpg
Madonna and Child Enthroned between St Francis and St Liberalis c. 1505
Oil on wood,
200 x 152 cm
Sleeping Venus mk176
c.1510
Oil on canvs
108.5x175.2cm
Giorgione The Adulteress brought Before Christ Painting ID:: 50863 new18/Giorgione-985997.jpg
The Adulteress brought Before Christ mk216
Giorgione died in 1510 at the early age of 33 and there are perhaps no more than a dozen pictures in the world which can be assigned to him without question.
Giorgione The Adulteress brought before christ Giorgione Painting ID:: 52725 new19/Giorgione-539484.jpg
The Adulteress brought before christ Giorgione mk223
died in 1510 at the early age of 33 and there are perhaps no more than a dozen picutures in the world which can be assigned to him without quetion
Italian
1476-1510
Giorgione Galleries
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.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 learnt 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 manuscript illumination techniques and first brought into oil painting. These gave Giorgione's works the magical glow of light for which they are celebrated.
Most entirely central and typical of all Giorgione's extant works is the Sleeping Venus now in Dresden, first recognized by Morelli, and now universally accepted, as being the same as the picture seen by 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 presentment: the sweep of white drapery on which the goddess lies, and of 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 her 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. 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 foot (60 cm) in either dimension. This market had been emerging over the last half of the fifteenth 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 such paintings began to increase with the prosperity and palaces of the patrons.