Venice School of Painting (part 4)
The art of Giorgione was a real revolution in Venetian painting, had a huge impact on contemporaries, including Titian, whose work the readers of the magazine already had the opportunity to get acquainted. Recall that Titian is a central figure in the history of the Venetian school. Leaving the workshop of Giovanni Bellini and in his youth collaborated with Giorgione, he inherited the best traditions of the work of senior masters. But he is an artist of a different scale and creative temperament, striking in the versatility and comprehensive breadth of his genius. By the grandeur of worldview, the heroic activity of Titian’s images can only be compared with Michelangelo.
Titian has revealed the truly inexhaustible possibilities of color and paint. In his youth, he loved rich, enamel-clear paints, drawing powerful chords from their comparisons, and in his old age he developed the famous “late manner”, so new that it did not find understanding among most contemporaries. The surface of his late canvases near represents fantastic chaos of randomly applied brush strokes. But at a distance, color spots scattered on the surface merge, and before our eyes human figures full of life, buildings, landscapes appear – as if being in eternal formation, a world full of drama.
With the last, final period of the Venetian Renaissance, the work of Veronese and Tintoretto is associated.
P. Veronese. “Paintings of the ceiling of the Olympus Hall.” Fresco. Around 1565.
Paolo Veronese was one of those happy, sunny natures to whom life is revealed in the most joyful and festive aspect. Lacking the depth of Giorgione and Titian, he was at the same time endowed with a heightened sense of beauty, the subtlest decorative flair and a real love for life. On huge canvases shining with precious colors, made in an exquisite silver tone, against the background of magnificent architecture, we see a colorful, striking life brightness crowd – patricians and noble ladies in magnificent robes, soldiers and commoners, musicians, servants, dwarfs.
Heroes of religious legends are sometimes almost lost in this crowd. Veronese even had to appear before the court of the Inquisition, accusing him of daring to depict in one of the compositions many characters who have nothing to do with religious subjects.
The artist especially loves the theme of feasts (“Marriage in Cana”, “Feast in the House of Levi”), turning modest gospel meals into magnificent festive shows. The vitality of Veronese’s imagery is such that Surikov called one of his paintings “a kind retracted by the frame.” But this is nature, cleansed of any raid of everyday life, endowed with Renaissance significance, ennobled by the magnificence of the artist’s palette, the decorative beauty of rhythm. Unlike Titian, Veronese worked a lot in the field of monumental and decorative painting and was an outstanding Venetian Renaissance decorator….