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!!

Lorenzo Lotto

Vittore Carpaccio

Tintoretto

Giorgione

Gentile Bellini

Tiziano Vecellio

SOME OF THE MOST IMPORTANT PAINTERS

OF THE VENETIAN RENAISSANCE

Ritratto dei coniugi

Lorenzo Lotto

1524, olio su tela - S.Pietroburgo, Hermitage Museum

In an other interpretation, the picture would represent a dead woman beside the husband: His pain is incurable and the

squirrel, in this case, is sleeping during a sort of

emotional storm: like the man, the squirrel is waiting for better

times.

The man and the woman represented in this picture are wife and husband.

The two are seated in a room, the woman is holding a small dog,

symbol of fidelity.

The man indicates a little squirrel that has fallen asleep on the

table, this would be a symbol of luxury.

The table is decorated with a cloth with

oriental embroidery.

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 public work of Lotto.

It’s an holy conversation: we

can find the Virgin with Jesus Christ in the middle, sat on a

throne that dominate the whole scene. On the left, S.Caterina

with the martyrdom’s wheel. Near her, St

Peter with the keys.

On the right, St Liberale waving the flag of Treviso; in

his left hand he takes the model of the city, in fact he’s

its protector. The last man is St Gerolamo, dressed with the color of the archbishops. He brings the

holy Bible in his hands.We see a natural landscape and a wall of bricks behind the Saint…The pedestal of the Virgin is decorated with

an Oriental Carpet.

La crocifissione di Cristo

Tintoretto

1565, olio su tela

Scuola grade di S.Rocco, Venezia

The painting is very elaborated and we perceive an enigmatic and dark

atmosphere, full of references to the Holy Bible and rich in several symbols.

We can notice that the light comes only from the body of Jesus, that lights the

scene.

In the middle of this canvas there’s Jesus Christ on the

cross, sorrounded by the crowd.Under the cross there’s Maria with other two women, they’re crying for the death of Jesus.

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.

Nozze di Cana

Tintoretto

1563-1563, olio su tela

Parigi, Louvre

This is the representation of the first miracle of Jesus: He turns the water in wine. We can see the servitude taking

the jars with the water. This happens during a wedding in

Canaan.

Behind the table with the hosts and on the right there’s 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.

Miracolo di S.Marco

Tintoretto

1548, olio su tela

Venezia, Galleria dell’Accademia

In the middle of the scene we can see a naked man and a group of

people trying to hit him.

He’s a slave, escaped from his master to venerate St. Mark’s relics

in Alessandria d’Egitto.

The master have found him and so he’s trying to punish his slave breaking his

legs and taking his eyes.Suddenly, from the sky, appears Saint Mark, came to save the poor slave and

stop his cruel execution.

Predica di Cristo

Tintoretto

1545- 1547 ca., olio su tela

Venezia, Ca’ Rezzonico

In this scene Jesus is on a pulpit and he’s talking to the crowd, gesturing. On the background, near the double lancet windows we can recognize some man 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.

La predica di S.Marco ad Alessandria d’Egitto

Gentile Bellini

1504-1507 olio su tela

Milano, Pinacoteca di Brera

The Islamic architectures remember us the place of Saint Mark, in fact Gentile wanted to represent the relationship that tie the venetian

Basilica and the temple built in Alessandria.

This work started by Gentile, has been finished after his death by the brother, Giovanni. On the left we can see Saint Mark speaking to the crowd, where we can

notice a lot of people with oriental dresses 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 tavolaCatelfranco Veneto, duomo

This canvas has been entrusted to

Giorgione by Tuzio Costanzo (there’s the blazon of the family

painted on the pedestal of the

throne).

Maria, sat on the throne with Jesus,

looks sad: she perceives the future death of his child.

There’s a contrast between the natural landscape and the parapet where there’s

the throne.

The two men are St. Francesco (on the right) and St. Nicasio.

The identification of this last Saint is uncertain, it

has been damaged several times by the restorations. He could be St. Giorgio or

St. Liberale too.

Pala PesaroTiziano

1519, olio su telaVenezia, S.Maria Gloriosa dei Frari

In this Holy conversation, there’s the virgin sorrounded by the Pesaro family,

who commissioned this canvas.

On one of the rungs that bring to the Virgin (for the first time, she isn’t in the middle of the painting), we see St Peter, with a blue-yellow dress and the keys.

Behind the throne, St. Francesco with the brown habit. Near him, St. Antonio.

The flag reproduce the blazon of the family, genuflected on the floor.

Two angels, on a cloud, are bringing the cross symbol of the passion of Christ.

On the background there are two columns, symbol of the Virgin and we can see the

sky.

On the left, a man wearing a turban: he is prisoner of Jacopo Pesaro who want with

this painting remember the victory in battle against the Turkish.

Martirio di Sant’Orsola

Carpaccio

1493, tempera su tela

Venezia, Gallerie dell’Accademia