Bellini, Giorgione, Titian, and the Renaissance of Venetian Painting

Front Cover
The first three decades of the sixteenth century represent, visually and intellectually, the most exciting phase of the Renaissance in Venice--when Giorgione and the young Titian, together with Sebastiano del Piombo, Palma Vecchio, and others, were working alongside the older master Giovanni Bellini. This beautiful book presents an innovative survey of sixty Venetian Renaissance paintings of the caliber of Bellini and Titian’s Feast of the Gods in Washington and Giorgione’s Laura and Three Philosophers in Vienna. Unlike previous surveys of the period, this book refrains from dividing up the artists represented and instead explores the interrelationships between them. Through a series of thematic sections, the authors trace the rise of secular subjects--pastoral landscapes, female nudes, and romantic portraits--and the transformation of religious ones as well as innovations in style and technique. Cutting across genres, the book also focuses on the overarching themes of music, love, and time. Featuring essays by leading scholars, detailed entries on some of the most renowned pictures of sixteenth-century Italy, and revealing technical information, Bellini, Giorgione, Titian, and the Renaissance of Venetian Painting is an essential volume to own.
 

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Bellini, Giorgione, Titian, and the Renaissance of Venetian painting

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This book accompanies an exhibition at the National Gallery of Art in Washington, DC, and the Kunsthistorisches Museum in Vienna (showing through January 7, 2007) and examines the period of 1500-30 in ... Read full review

Contents

xiii
1
39
108
55
127
285
170
311
198
Directors Foreword Earl A Powel II and Wilfred Sºpel
206
Elke Oberhaler and Elizabeth Walmsley
301
Bibliography
311
Copyright

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Page 319 - Venezia, in Studi di filologia e di letteratura italiana offerti a Carlo Dionisotti, Milano-Napoli, Ricciardi, 1973, pp.

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About the author (2006)

Authors include David Alan Brown, curator of Italian painting at the National
Gallery of Art; Sylvia Ferino-Pagden, curator of Italian Renaissance painting at the Kunsthistorisches Museum; Jaynie Anderson, head of the School of Fine Arts, University of Melbourne; Deborah Howard, head of the Department of the History of Art, University of Cambridge; Peter Humfrey, professor at the School of Art History, University of St. Andrews; and Mauro Lucco, professor at the Universit degli Studi di Bologna.

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