Лаура (джорджоне) — laura (giorgione)

Useful Resources on Giorgione

Books
articles
video clips

Books

The books and articles below constitute a bibliography of the sources used in the writing of this page. These also suggest some accessible resources for further research, especially ones that can be found and purchased via the internet.
biography

• Giorgione: Catalogue Raisonné: Mystery UnveiledOur Pick

  By Wolfgang Eller

• In the Age of GiorgioneOur Pick

  By Simone Facchinetti

• GiorgioneOur Pick

  By Terisio Pignatti

• Giorgione’s Tempest: Interpreting the Hidden Subject
  By Salvatore Settis

• Pagan Mysteries in the Renaissance
  By Edgar Wind

• Giorgione’s Tempesta with Comments on Giorgione’s Poetic Allegories
  By Edgar Wind

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articles

video clips

Accomplishments

• The fashion amongst portrait artists, including Giorgione’s esteemed tutor, Giovanni Bellini, was to treat their sitters with a holy reverence. Giorgione approached portraiture with a more humanistic outlook that encouraged the spectator to consider something of the personality of his subject. The status of Giorgione’s sitters often remained ambiguous, while the delicate attention to detail in his painting allowed for a much greater intimacy to form between subject and spectator.
• Giorgione’s ingenuity was evident both in his choice of subject matter and in his technique. He was one of the first Italian painters to abandon the traditional medium of egg tempera in favor of the new oil paint. Oils allowed for the creation of a more luminous, textured canvas and offered a means by which to affect a higher dramatic potential in the painted scene. Some historians have suggested that Giorgione might have been inspired by Leonardo’s famous sfumato technique. Even if this were so, his use of rich colors and thick oily brushstrokes were of his own invention.
• According to the art historian Ernst Gombrich, the Venetian nobleman Marcantonio Michiel’s analysis of Giorgione’s work in 1525 was the first to use of the word landscape in art. Though there were precedents to be found in ancient Chinese art, and others in Northern Europe such as Albrecht Dürer had become interested in rendering the detail in nature, Giorgione was the first Western painter to treat natural scenery as something much more meaningful than a mere backdrop for his figures. It seems likely that Giorgione had been influenced by the Renaissance philosopher Pietro Pomponazzi who had gained fame amongst the Venetian humanist groups of the day by suggesting that nature, ergo the philosophy of «naturalism,» offered the true explanation of life and mortality.

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История и описание

На портрете молодая женщина изображена в образе невесты. По заявлению музея, он представляет собой Laure de Sade , но информация не подтверждена документально. По аналогии с такими работами, как « Портрет Джиневра де Бенчи » Леонардо да Винчи , картину условно называли «Лаура», возможно, по имени женщины, на которую намекает название красочного завода, стоящего за ней.

Девушка изображена в трех четвертях с бюстом, повернутым влево, на темном фоне. Позади него находится ветвь лавра ( Laurus ), символ целомудрия или поэтов. Она носит брачную вуаль. Жест распахивания шубы открывает грудь, чувственно подчеркнутую окутывающей ее вуалью. Это может указывать на плодородие (и, следовательно, материнство) как подношение любви и благословенного брака с детьми. Поскольку лавр символизировал Добродетель, видимая грудь могла вызывать супружескую верность, такую ​​как невеста.

Интерпретация фигуры породила различные гипотезы: это может быть идеальное изображение, возможно, Флор , но это также может быть куртизанка . Многие картины венецианской традиции, вдохновленные Лаурой, представляют собой фигуры, которые следует рассматривать как куртизанок, часто выдающих себя за мифологические фигуры или олицетворения абстрактного качества.

Живописная техника Джорджоне отличается, прежде всего, плотным и материальным хроматическим фоном, который не создает четких контуров и который простирается не от нижележащего рисунка, а прямо на холст с чрезвычайной свободой. Отсутствие единообразия, хорошо заметное вблизи, очень современно и является одним из фундаментальных вкладов Джорджоне в развитие живописи, называемого тонализмом. Легкие мазки создают, например, яркие легкие мазки на деталях, таких как рука, где художник, кажется, передает ожидания импрессионизма.

Эта работа знаменует собой отказ Джорджоне от моделей Джованни Беллини в пользу стиля Леонардо .

Статьи по Теме

• Джорджоне
• Высокое Возрождение
• Венецианский ренессанс

Summary of Giorgione

Giorgio da Castelfranco, or Giorgione as he is better known, lived a short, but vital, life; a life that confirmed him indeed as one of the most important and enigmatic figures in the history of Western art. The elusive, poetic quality to his painting — with no surviving documentation of the artist’s preferences and aims, and no record of his patron’s demands, their meanings have always been subject to fervent conjecture — secured a legacy that belies a career that lasted just 15 years. Though Giorgione’s paintings resist straightforward classification, they undoubtedly challenged the modern style of the day and the artist was instrumental in effecting a shift within Venetian culture towards a new appreciation for the ancient world, esoteric mythology and the natural world. He is remembered primarily for his portraits and landscapes, and of the latter, there is some consensus amongst historians that his work led to the development of landscape as a legitimate genre in its own right. Vasari’s famous biography describes him merely as a man of intelligence, charm and prodigious talent (though the author’s account was probably drawn from Giorgione’s painting style rather than from reliable records and/or anecdotes) — he emerges as a pivotal figure in the move within Renaissance art towards a style that promoted the sensuous blending of luminous color that we recognise to this day as a hallmark of the Venetian Renaissance.

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