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Updated: June 13, 2025
Not long after, they got together one evening to talk about Titian and Giorgione. They had seen, of course, their pictures in the Florentine galleries, and Titian's Sacred and Profane Love in the Borghese Gallery, Rome; and were familiar with the rich color and superb Venetian figures and faces. "What a pity that Giorgione died so young!" exclaimed Margery. "Yes," replied her uncle.
If some of his canvases are brown it is because brown seemed to him the appropriate note to express what he had to say; "The Gleaners" glows with almost the richness of a Giorgione, and other pictures are honey-toned or cool and silvery or splendidly brilliant.
Be this as it may, there is no need for wondering, as people occasionally wonder, how the solemn terror, the sweetness, pathos, or serenity of men like Signorelli, Botticelli, or Perugino, nay Michelangelo, Raphael, or Giorgione, could have originated among Malatestas, Borgias, Poggios, or Aretines. It did not.
The face of Titian was well known and that of the woman beside him was the face of many pictures; while the big man opposite her husband the famous Giorgione, was the favorite of art-loving Venice. It was a group to attract attention at any time. But it was the fourth member of the group that drew the eyes and held them to-night.
The general pose is most like that of the Borghese "Lady." The parapet, the wavy hair, the high cranium are all so many outward and visible signs of Giorgione's spirit, whilst none but he could have created such magnificent contrasts of colour, such effects of light and shade. This is indeed Giorgione, the great master, the magician who holds us all fascinated by his wondrous spell.
It is true that modern criticism has doubted the lightness of the ascription, and many critics, whose one idea seems to be to deprive Giorgione of any pictures at all, leaving him but a glorious name without anything to account for it, call it an early Titian; but this need not trouble us. There the picture is, and never do I think to see anything more satisfying.
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?
The hair parted in the middle, and brought down low at the sides of the forehead, was peculiarly affected by the Venetian gentlemen of the day, and this style seems to have particularly pleased Giorgione, who introduces it in many other pictures besides portraits. The oval of the face, which is strongly lighted, is also characteristic.
"Nor am I," said Gouache, taking up his brushes again. "If you will resume the pose so thoughtful but bold imagine that you are already an ancestor contemplating posterity from the height of a nobler age you understand. Try and look as if you were already framed and hanging in the Saracinesca gallery between a Titian and a Giorgione."
Leonardo and Giorgione share a profound interest in the dangerous and subtly alluring; but the difference is this, that we feel Leonardo to have been the master of his romantic emotions, while Giorgione suggests that for himself they could be too much. It is not, however, influence upon Giorgione that is most interesting, but Giorgione's influence upon others.
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