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Updated: June 5, 2025
Technically, the workmanship points to an earlier period than the Castelfranco Madonna, and there is an exuberance of fancy which points to a youthful origin. The figures are of slight and graceful build, the composition easy and unstudied, with a tendency to adopt a triangular arrangement in the grouping, the apex being formed by the storm scene, to which the eye thus naturally reverts.
It shows the painter admirably in his purely Giorgionesque phase, the authentic date bearing witness that it was painted during the lifetime of the Castelfranco master. Die Galerien zu München und Dresden, p. 74.
If Carpaccio was the greatest pupil of Gentile Bellini, in Giorgione we see the first of those marvellous painters who were taught their art by his brother Giovanni. Giorgio Barbarelli, called Giorgione, was born at Castelfranco, a little town in the hills not far from Padua, in 1478.
This was Giorgio, who was born at Castelfranco in the territory of Treviso, in the year 1478, when the Doge was Giovanni Mozzenigo, brother of Doge Piero.
His departure left Titian, his associate under Giorgione, master of the field; he, too, had a hand in finishing some of the work left incomplete in the atelier, and his privilege it became to continue the Giorgionesque tradition, and to realise in utmost perfection in after years the aspirations and ideals so brilliantly anticipated by the young genius of Castelfranco.
Again we find the parapet, or ledge, with its flat surface on which the play of light can be caught, and again the same curious folds, broken and crumpled, such as are seen on Solomon's robe in the Kingston Lacy picture, and somewhat less emphatically in the Castelfranco "Madonna."
Giorgio Barbarelli, known as 'Giorgione, in Italian, 'big, or, as I have heard it better translated, 'strapping George' was born at Castelfranco, in Treviso, about 1477, the same year in which Titian was born. Nothing is known of his youth before he came to Venice and studied in the school of Gian Bellini along with Titian.
Tradition connects the painting of this altar-piece with an event of the year 1504, the death of the young Matteo Costanzo, whose family, so it is said, commissioned Giorgione to paint a memorial altar-piece, and decorate the family chapel at Castelfranco with frescoes.
The added depth and feeling for space shows how Giorgione had learnt to compose in three dimensions, the technical advance over the "Adrastus and Hypsipyle" indicating a period subsequent to that picture, though probably anterior to the Castelfranco altar-piece. We have now taken the three universally accepted Giorgiones; how are we to proceed in our investigations?
Compared with Titian it is as though his colour-chord sounded in seven sharps, whilst the former strikes the key of C natural. A full rich green frequently occurs, as in the Castelfranco "Madonna" and the Louvre picture, and a deep crimson, contrasting with pure white drapery, or with golden flesh-tints, is also characteristic.
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