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In the Age of Giorgione
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AllegoricalPortraits
Do not remove from gallery
LargePrint
In the Age of Giorgione
Multimedia tour
17 Tullio Lombardo, Bacchus and Ariadne, c. 1510
Giovanni Cariani, Judith, c. 1510-1518
Giorgione, La Vecchia, c. 1508-101656
Main commentary
Descriptive commentary
You are in Allegorical Portraits
18
1656
AudioDesk
Exhibition exit
17
Portraits
Landscape
AllegoricalPortraits
Devotional Works
Entrance from Devotional Works
ContentsPage 5
Allegorical Portraits (introduction)
Page 7List of works
2009-2016 Season Supported by Supported by
The production of RA large print guides is generously supported by Robin Hambro
In the Age of Giorgione In the Sackler Wing of Galleries12th March – 5th June 2016.
5
Allegorical
PortraitsArtists active in Venice at the beginning of the sixteenth century experimented within the genre of portraiture.
Tullio Lombardo’s ambiguous portrait relief, exhibited in this room, appears to depict its sitters in mythological guise.
Other portraits stand on this boundary of personal and symbolic representation;; the individualised features of Giovanni Cariani’s ‘Judith’, for example, position the protagonist between portrait and allegory.
Particularly popular in the city were the so-called belle, portraits of beloved women that were idealised by the artist, such as the ‘Portrait of a Young Woman’, also exhibited here.
(continued over)
Giorgione’s celebrated ‘La Vecchia’ is an intriguing variation on this innovative theme.
The lifelike depiction and intense expression of the old woman seek to connect with the viewer on a personal level, while the poignant inscription bestows on her symbolic purpose: a reminder of the passing of time.
Was it intended to be a portrait or an allegory of the transient nature of life – or perhaps both?
6
List of works (clockwise in order of hang)
Tullio Lombardo 17
(c. 1455 – Venice,
1532)
Bacchus and Ariadne,c. 1510Marble
Kunsthistorisches Museum, Vienna, Kunstkammer, inv. 7471
Tullio Lombardo came from a family of sculptors and worked alongside his father, Pietro, and his brother Antonio. Through training and practice in Venice he developed a thorough understanding of classical art.
7(continued over)
His works range from monumental wall tombs to sensuous portrait reliefs such as this, in which the young man wears a wreath of vine leaves or ivy, both attributes of Bacchus, the Roman god of wine and fertility.
Giovanni Cariani (Fuipiano al Brembo, Bergamo, c. 1485 –Venice, after 1547)Portrait of a Young Woman,c. 1508–10Oil on panel
Szépmuvészeti Múzeum, Budapest, gift of Mrs György Ráth, 1906, inv. 51.879
8
Giovanni Cariani 18
(Fuipiano
al Brembo, Bergamo,
c. 1485 –Venice, after
1547)
Judith,c. 1510–15Oil on panel
Francesca and Massimo Valsecchi
The story of ‘Judith and Holofernes’ is told in the Old Testament Apocrypha. The army of the Assyrian general Holofernes besieged Bethulia;; Judith saved her city by decapitating Holofernes after his attempt to seduce her.
Here she is shown, in the company of her maid, holding a knife in one hand and the head of Holofernes in the other.
9
Giovanni Cariani (Fuipiano al Brembo, Bergamo, c. 1485 – Venice, after 1547)Saint Agatha,c. 1510–15Oil on canvas
Scottish National Gallery, Edinburgh, inv. NG 2494
10
Giorgione 1656
(Castelfranco
Veneto, 1478 – Venice,
1510)
La Vecchia,c. 1508–10Tempera and oil on canvas
Gallerie dell’Accademia, Venice, inv. 272
This painting, preserved in its original
mentioned in the inventory of the collection belonging to Gabriele Vendramin (1484–1552), where it was described as a portrait of Giorgione’s mother.
An allegory of temporal transience, it addresses the passage of time and the process of ageing. The old woman holds a piece of paper inscribed “col tempo” (“with time”) as she points to herself.
11
Attributed to Pordenone
(Pordenone, c. 1483 –
Ferrara, 1539)
Christ Carrying the CrossOil on panel
Kunsthistorisches Museum, Vienna, Gemäldegalerie,
inv. GG 280
Attributed to Giorgione
(Castelfranco Veneto,
1478 – Venice, 1510)
David Between Saul and Jonathan (?)Oil on canvas
Mattioli Collection
12
Dosso Dossi
(Tramuschio, 1486/87
– Ferrara, 1541/42)
Angelica and Orlando (?),c. 1515Oil on canvas
Galleria Palatina, Palazzo Pitti, Florence, inv. 147
Attributed to Titian
(Pieve di Cadore,
c. 1488/90 – Venice,
1576)
Boy with a Pipe (‘Shepherd’),c. 1510–12Oil on canvas
Lent by Her Majesty The Queen, RCIN 405767
13
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© Copyright Royal Academy of Arts, London, 2016
Typography & layout: Portugal Prints, Wandsworth and Westminster Mind www.wwmind.org.uk
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