Sixteenth-Century Vanish Painting in Venice and the Veneto

Question: Describe about the Sixteenth-Century Vanish Painting in Venice and the Veneto? Answer: Venice is considered as among the centers of renaissance art. From the earliest days, the artists in Venice have been inspired to record the dazzling effect of light on the bridges and buildings situated alongside the canals. The artists have depicted the hustle and bustle of the canal traffic along with the gondolas that are decorated for religious processions or secular festivals. In large paintings like the 'legend of St. Ursula' of Carpaccio, even the high-masted merchant vessels of Venice have also been represented that carried the luxury goods from Venice to other cities of the world (Fortini, 1996). Venice was also among the first modern States to commission a group of portraits for the chief administrators of the city. Of course only example in this regard than be given of the Doge Leonardo Loredan's painting by Giovanni Bellini. The art that was present in early and high renaissance Venice has been hugely impacted by the Bellini family. This family comprises the father Jacopo, the sons Giovanni and Gentile and brother-in-law Andrea Mantegna. A unique style of painting was developed by his family and their helpers. This style was characterized by the deep and rich colors as well as the significance of patterns (Bayer, 2000). The artists in Venice had a knowledge regarding line near perspectives and these techniques were used by them in their paintings (Davis, 1991). They gradually shifted colors and achieve variety with the help of light and colors. The trade networks also increase the movement of local painting practices. At the same time it also needs to be reviewed at the Venetian art is significantly different from the Florentines and this difference can be seen in a number of aspects (Bayer, 2005). While the focus in case of the brilliant Florentines was on space, shape and volume, the limited use of color for differentiating one area from the other and each area is specifically restricted by an outline in case of Florentines (Davis, 1991). As a result, it is easy to recognize the Florentine as color drawings because first they were composed and drawn in neutral thereafter they were applied by glazing over the drawings. The painters in Venice had adopted a completely different approach because they considered color as the key to drawing. In case of the Venetian painters, Allen was considered as a significant element and the use of color expressed the indispensable difference that was present in the social climate of Venice as compared to the climate of Florence. It was a city full of art, music and trade instead of the sole focus on science and banking being the main European trading center, there was more luxurious way of life present in Venice. The painters in Venice were able to portray their paintings with the help of the luxury in Venice and sumptuous and poetic use of color atmosphere and light helped them (Lowry, 1991). Moreover, the painters in Venice relied on the direct observation of nature, as well as the accurate study of the tones and colors instead of measuring and geometry which was used by the Florentines. The painters in Venice combined their works not by line but by tone and color . There was a meeting of Byzantine East and Gothic West in Venice. The paintings, sculptures and architecture that were produced in Venice in 14th and early 15th century shows the interaction between the two great cultural forces. While the prosperity of Venice can be attributed to the sea trade, it also provided the painters in Venice with extraordinary raw materials (Lowry, 1991). The artists in Venice started to acquire more knowledge and the study of navigation and astronomy helped them in achieving new explanations of the universe. As a result, it is not surprising that an awareness of this new aspect of reality was first of all expressed clearly in Venice. The expression of the new aspect of reality is visible in the paintings of Tintoretto (Ruggiero, 1985). For example the painting called "The Origin of the Milky Way" can be considered as a symbol of astronomy but at the same time, the whole arrangement in this painting is based on the idea of dynamic movement. A significant artist of Venice is Tiziano Vecellio. He was born in 1488 and became an artist's learner in Venice when he was a teenager. Soon he went to work with leading artists like Giovanni Bellini and Giorgine. He is considered as the greatest artists of Venice of the 16th century and the achieved international fame (Dunkerton, 1991). He was also the leading artists of the Italian Renaissance. He painted Pope Paul III, holy Roman Emperor Charles V and King Philip II of Spain. He is well-known for the extraordinary use of color. The approach adopted by them was very persuasive during the 17th century. He made significant contribution in significant areas of renascence art and painting (O.Malley, 2005). Titian created a number of portraits of the important personalities of that day. Between 1545 and 46, he painted two works of Pope Paul III and therefore he had to spend nearly 6 months at the Vatican for making these portraits. He traveled to the court of Charles V in 1548 when he went there to paint his portraits. A very beautiful painting that was done by Titian is known as the Madonna of the Pesaro. This painting can be found in the church Frere in Venice. In this painting, it can be seen that the Virgin is looking down past St Peter towards Patron Jacopo Pesaro was present on the lower left side of the painting. He was the leader of the Papal Navy and was successful in a number of campaigns against the Turks. This victory is considered by the Christians as their victory over Islam. In this painting, it can be noticed that the Pope has a coat of arms in the banner that is present in the left and also the coat of arms of the Pesaro family can also be seen. In this painting, there is also a prisoner who is wearing a turban and a soldier is also present behind the prisoner. It has been interpreted that the soldiers St. George because generally is considered as being victorious over evil. This painting is quite different because the donor is included on the left and the family is present on the right (Romano, 1987). At the same time, the painting is different because the Virgin is not present in the center but she is present on the top of the painting and is looking towards the right while Christ is looking down towards left. He notices St. Peter and also has a key at his feet. It appears that a notation was being made by Saint Peter regarding the people that are going to be allowed in the kingdom of heaven. In this painting, the rich and vivid colors used by Titian can clearly be noticed (Ruggiero, 1985). At the same time, it can also be observed in this painting that the spiritual figures are dramatic and also have movement. On the othe r hand, the donor and his family are calmed and only the smallest member of the family is an exception in this regard. Our beautiful and pure elimination of light can is also present in this painting towards Mary and Christ. References Bayer, Andrea. 2000 "Sixteenth-Century Painting in Venice and the Veneto", In Heilbrunn Timeline of Art History, New York: The Metropolitan Museum of Art Bayer, Andrea. 2005, "North of the Apennines: Sixteenth-Century Italian Painting in Venice and the Veneto." The Metropolitan Museum of Art Bulletin, v. 63, no. 1 Brown, Patricia Fortini. 1996, Venice and Antiquity: The Venetian Sense of the Past. New Haven and London Davis, Robert C. 1991, Shipbuilders of the Venetian Arsenal: Workers and Workplace in the Pre-Industrial City. Baltimore Giorgio Vasari, The Lives of the Artists, translated with an introduction and notes by Julia Conaway Bondanella and Peter Bondanella., Oxford 1991 Jill Dunkerton, 1991, Early Renaissance Painting in the National Gallery: Early European Painting in the National Gallery of London, Yale University Press John Shearman, Only Connect: Art and the Spectator in the Italian Renaissance, Princeton, 1992. Lowry, Martin. 1991, Nicholas Jenson and the Rise of Venetian Publishing in Renaissance Europe, Oxford and Cambridge, Mass Michelle O.Malley, 2005, The Business of Art, Contracts and Commissioning Process in the Renaissance, New Haven Romano, Dennis. 1987, Patricians and Popolani: The Social Foundations of the Venetian Renaissance State. Baltimore and London Ruggiero, Guido. 1985, The Boundaries of Eros: Sex Crime and Sexuality in Renaissance Venice. New York and London,