This slide presents the work done by the class 3E about the Venetian
Renaissance:
With our teacher Maria Chiara Rossi we found some pictures painted by
the most important artist of the Renaissance with a particular detail:
Oriental influences.
In that period, Venice was a city full of life and it had fruitful relationships
with the Orient: in fact, prestigious painters inserted exotic elements
among their paintings: they were very influenced by this foreign
presence.
We noticed that in these pictures there were lots of Turkish men,
represented with white turbans and dark skin, but also carpets.
We want to remark in this way the importance of the relation between Italy
and the Oriental states.
We hope that you enjoy!!
SOME OF THE MOST IMPORTANT PAINTERS
OF THE VENETIAN RENAISSANCE
Lorenzo Lotto
Vittore Carpaccio
Gentile Bellini
Giorgione
Tiziano Vecellio
Tintoretto
In an other interpretation, the
picture would represent a dead
The two are seated in
The
man
and
the
The man indicates a
woman beside the husband:
a room, the woman
woman
represented
little
squirrel
that has
The
table
is decorated
His pain is incurable and the
is holding a small
in
this
picture
are
fallen
on
the
with
aasleep
cloth with
squirrel, in this case, is
dog, symbol of
wife and
husband.
table,
this
would be a Ritratto dei coniugi
oriental
embroidery.
sleeping during a sort of
fidelity.
symbol of luxury.
emotional storm: like the man,
Lorenzo Lotto
the squirrel is waiting for better
1524, olio su tela - S.Pietroburgo, Hermitagetimes.
Museum
L’elemosina di Sant’Antonino
Lorenzo Lotto
1542, olio su tela
Venezia, Chiesa S.Giovanni e Paolo
In this painting Sant’Antonino
is above all the other
characters, sorrounded by
angels and cherubins.
Lower, there are two deacons
pointed out to the balaustrade,
decorated with a colorful
oriental carpet with
embroideries and frange. The
two men are distributing aid to
the poor crowd.
Pala di Santo Spirito
Lorenzo Lotto
1521, olio su tela
Bergamo, Chiesa S.Spirito
This altar-piece
represents an holy
conversation among
The Virgin and the
saints (from left to
right): S.Caterina,
S.Agostino,
S.Sebastiano e
Antonio Abate.
The Virgin sits on a
throne, draped with
one of the beloved
carpets of Lotto.
Under the throne, a
child: S.Giovanni
Nozze mistiche di S.Caterina
Lorenzo Lotto
1523, olio su tela
Bergamo, Accademia Carrara
This canvas had been painted to
pay the annual rent to Niccolò
Bonghi.
We can see the Virgin sat down
trying to keep Jesus between her
arms. Behind her, a man who
wears dresses of that period,
maybe the owner of the painting,
Niccolò Bonghi.
The woman knelt down is
S.Caterina involved in a sort of
wedding with Jesus and the
Faith. An angel on the right is
looking at them.
The room is decorated
embellished with oriental
carpets.
Pala di S.Cristina
Lorenzo Lotto
1504-1506, Olio su tavola
Quinto di Treviso, S.Cristina
This is the first
On
the right,
public
workStofLiberale
Lotto.
waving the flag of Treviso; in
anhe
holy
his left It’s
hand
takes the
modelconversation:
of the city, in fact
we he’s
protector.
canitsfind
the Virgin
The with
last man
is St
Gerolamo,
Jesus
Christ
in
dressed
with thesat
color
the middle,
onof
a the
archbishops.
brings the
throne thatHe
dominate
holy
his hands.
the Bible
wholeinscene.
On
We see
a
natural
landscape
the left, S.Caterina
and a wall of bricks behind
with the
the Saint…The pedestal of
martyrdom’s wheel.
the Virgin is decorated with
Near
her, St
Peter
an
Oriental
Carpet.
with the keys.
La crocifissione di Cristo
Tintoretto
1565, olio su tela
Scuola grade di S.Rocco, Venezia
The painting is very elaborated and we
In the middle
of thisand
canvas
perceive
an enigmatic
dark
there’s Jesus
Christ on the
atmosphere,
full of references
to the
sorrounded
by the symbols.
crowd.
Holycross,
Bible and
rich in several
Under the cross there’s Maria
We can
notice
light comes
with
otherthat
twothe
women,
they’reonly
from crying
the body
Jesus,
lights the
forof
the
deaththat
of Jesus.
scene.
Susanna e i vecchioni
Tintoretto
1555-1556, olio su tela
Vienna, Kunsthistorisches Museum
One of the most wonderful paintings of
Tintoretto, dipped in an enigmatic
athmospere.
Our attention isn’t concentrated on the
two old men that are coming out from
the bushes of roses but we are amazed
by the luminous body of the young
woman, Susanna, that is cleaning
herself near the fountain.
This is the representation of the first
miracle of Jesus:
He turns
the water in
Nozze
di
Cana
wine. We can see the servitude taking
the jars with the water.
This happens Tintoretto
during a wedding in
Canaan.
1563-1563, olio su tela
Behind the table with the hosts and on
Louvre
the right there’s Parigi,
a little group
of men and
women with oriental hat and turbans.
Cristo davanti a Pilato
Tintoretto
1576-1567, olio su tela
Venezia, Scuola Grande di S.Rocco
We can observe a very known
scene: Jesus is in front of
Ponzio Pilato and there’s a
moltitude of people watching at
them. The crowd is waiting for
the judgement.
Pilato, the man on the throne,
is washing his hands…He
doesn’t take care about the
happening, this means that he
doesn’t want to be involved in
the mess and take the
responsibility of Jesus’
destiny.
In the middle of the scene we can
Miracolo
S.Marco
The master have
found di
him
and so he’s
see a naked man and a group of
trying to punish his slave breaking his
people trying
to hit him.
Tintoretto
legs and taking
his eyes.
He’s a slave,
escaped
from
Suddenly,
from1548,
the
sky,
olioappears
su
telahisSaint
master
to venerate
St. Mark’s
relics
Mark,
came
to save the
poor slave
and
Venezia,
Galleria
dell’Accademia
in Alessandria
d’Egitto.
stop
his cruel execution.
In this scene
is on a pulpit
1545- and
1547he’s
ca.,talking
olio su to
tela
Predica
diJesus
Cristo
the crowd, gesturing. On the background, near the
double
lancet windows we can
recognize
man
Venezia,
Ca’some
Rezzonico
Tintoretto
with a turban and some woman with an oriental hat.
Ritratto di Maometto II
Gentile Bellini
1479-1480, olio su tela
National Gallery, London
This work has been
commissioned by the
sultan during the
diplomatic mission of the
artist in Costantinopoli
(now called Istanbul.
The Sultan is behind a
balaustrade draped with a
marvellous carpet.
The three stars near the
arch represent the
empires of the Sultan.
Vergine in trono con
bambino
Gentile Bellini
1475-1485 ca. Olio su tela
Londra, National Gallery
This Picture of the Virgin
with Jesus is signed by
the artist on the
basement of the throne
“GENTILIS BELLINI”.
The child is blessing us
and he keeps in his left
hand a fruit, symbol of
his future death. He is
naked wich means that
he descended on the
earth for being like us.
olio
su tela
La
predica
di S.Marco
ad Alessandria
d’Egitto
This
The
work
Islamic
started
architectures
by Gentile,
has
remember
been finished
us
the after
placehis
of1504-1507
Saint
deathMark,
by the
inbrother,
fact
Giovanni.
Gentile
On the
wanted
left we
to can
represent
see Saint
the Mark
relationship
speaking
that
totie
thethe
crowd,
venetian
where we
Gentile
Bellini
Milano,
Pinacoteca
di Brera
can notice
Basilica
a lot ofand
people
the temple
with oriental
built indresses
Alessandria.
and turbans.
Gentile Bellini worked on a lot of
representations about the oriental
world in fact he travelled until
Istanbul for a diplomatic mission
between 1479 and 1480..
Pala di Castelfranco
Giorgione
1502, olio su tavola
Catelfranco Veneto, duomo
This canvas has been
There’s
a contrast
entrusted
to between
the natural landscape and
Giorgione by Tuzio
the parapet where there’s
Costanzo
the(there’s
throne. the
blazon of the family
Thepainted
two menon
arethe
St.
Francesco
(onofthe
right)
pedestal
the
and St. throne).
Nicasio.
The identification of this
Maria,
on the it
last
Saintsat
is uncertain,
has
beenwith
damaged
several
throne
Jesus,
times
by the
restorations.
looks
sad:
she
He could bethe
St. future
Giorgio or
perceives
St. Liberale too.
death of his child.
Pala Pesaro
Tiziano
1519, olio su tela
Venezia, S.Maria Gloriosa dei Frari
In this Holy conversation, there’s the
Two
angels,
on a cloud,
bringing
the
virgin
sorrounded
by theare
Pesaro
family,
cross
symbol
of the passion
of Christ.
who
commissioned
this canvas.
of the rungs
that
to the
On On
theone
background
there
arebring
two columns,
Virgin (for
the Virgin
first time,
isn’tsee
in the
symbol
of the
and she
we can
the
middle of the painting),
sky. we see St Peter,
with a blue-yellow dress and the keys.
On
the left,
man wearing
a turban:with
he is
Behind
thea throne,
St. Francesco
prisoner
of Jacopo
Pesaro
want with
the brown
habit. Near
him,who
St. Antonio.
this painting remember the victory in
The flag
reproduce
the Turkish.
blazon of the
battle
against the
family, genuflected on the floor.
Martirio di Sant’Orsola
Carpaccio
1493, tempera su tela
Venezia, Gallerie dell’Accademia