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Updated: June 20, 2025
Other painters, Palma, Cariarli, and Titian, elsewhere, derived inspiration from Giorgione's prototype, but Titian actually repeats the very figure in this "Venus"; so that there is nothing improbable in my contention that Titian also repeated Giorgione's "Gipsy Madonna," adding his signature thereto, to the confusion and confounding of later generations. Collection of Mr. R.H. Benson, London
It is at least conceivable that he took Giorgione's "David with the Head of Goliath," and by a simple, and in this case peculiarly appropriate, transformation, changed him into a shepherd boy holding a flute. We have now taken all the pictures which either Crowe and Cavalcaselle or Morelli, or both, assign to Giorgione himself.
The alteration in date would help to explain the silence of all records about him before 1511, when he would have been only twenty-two and not thirty-five years old; it would fully account for his name not being mentioned by Dürer in his famous letter of 1506, wherein he refers to the painters of Venice, and it would equally account for the absence of his name from the commission to paint the Fondaco frescoes in 1507-8, for he would have been employed simply as Giorgione's young assistant.
Giorgione's work was mostly in fresco, so but little of it has survived. But of his canvases several surely have that tender, beseeching touch of spirit which stamps the work as great art. Whether Mrs. Jameson is right in her assumption that all canvases bearing Giorgione's name are spurious which lack that look of pity, is a question. I think that Mrs.
In no extant Giorgione is the golden glow so well preserved, in none does the mysterious glamour from which the world has never shaken itself free, assert itself in more irresistible fashion.... The colouring is not so much Giorgionesque as Giorgione's own a widely different thing.... Wonderful touches which the imitative Giorgionesque painter would not have thought of are the girdle, a mauve-purple now, with a sharply emphasised golden fringe, and the sapphire-blue jewel in the brooch.
Having visited the Giovanelli Palace, I found myself restless for this rare spirit, and therefore arranged a little diversion to Castel Franco, where he was born and where his great altar-piece is preserved. But first let us look at Giorgione's career. Giorgio Barbarelli was born at Castel Franco in 1477 or 1478.
And this brings us to the question: What was Giorgione's relation to that great awakening of the human spirit which we call the Renaissance? Mr. Berenson answers the question thus: "His pictures are the perfect reflex of the Renaissance at its height."
III. Assuming this date to be correct, no other Venetian artist but Giorgione was capable of producing so fine and admittedly "Giorgionesque" a portrait at so early a date. IV. Internal evidence points to Giorgione's authorship. It will be seen that the logic employed is identical with that by which I have tried to establish the identity of Signor Crespi's picture.
I have elsewhere dwelt upon the precocity of Giorgione's talent, with its accompanying qualities of versatility, inequality, and productiveness, and I have pointed out the analogous phenomena in music and poetry. Giorgione, Schubert, and Keats are alike in temperament and quality of expression. They are curiously alike in the shortness of their lives, and the fever-heat of their production.
The theory that Giorgione painted this picture is gaining ground, and we know that only about a century after Giorgione's death Van Dyck, when sketching in Venice, made some notes of the work under the impression that it was the divine Castel Francan's.
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