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Updated: May 19, 2025
Another puzzle is provided by the beautiful "Noli me tangere" of the National Gallery, which must necessarily have its place somewhere here among the early works. Giorgionesque the picture still is, and most markedly so in the character of the beautiful landscape; yet the execution shows an altogether unusual freedom and mastery for that period.
A strong element of the Giorgionesque pathos informs still and gives charm to the Sciarra Violin-Player of Sebastiano del Piombo; only that there it is already tempered by the haughty self-restraint more proper to Florentine and Roman portraiture.
The richness of colouring, the depth of tone, the glamour of the whole is far superior to anything that we can point to with certainty as Catena's work; and no finer example of his "Giorgionesque" phase is to be found than the sumptuous "Warrior adoring the Infant Christ," which hangs close by, whilst his delicate little "S. Jerome in his Study," also in the same room, challenges comparison.
The great Giorgionesque movement in Venetian art was not a question merely of school, of standpoint, of methods adopted and developed by a brilliant galaxy of young painters.
Venetian art has nothing finer to show, whether for its interpretative qualities, or for the subtlety of its execution. Truly Giorgione has here foreshadowed Velasquez, whose silveriness of tone is curiously anticipated; yet the true Giorgionesque quality of magic is felt in a way that the impersonal Spaniard never realised.
Later on, we have, leaving farther and farther behind the Giorgionesque ideal, the overpowering force and majesty of the Assunta, the true passion going hand-in-hand with beauty of the Louvre Entombment, the rhetorical passion and scenic magnificence of the St. Peter Martyr.
His lustrous armour gleams with Giorgionesque brilliancy from Dossi's masterpiece in the Pinacoteca. That Ferrara, the only place in Italy where chivalry struck any root, should have had S. George for patron, is at any rate significant.
In pose, type, arrangement of hair, and in landscape this fragment is thoroughly Giorgionesque, and we have, moreover, those most characteristic traits, the pointing forefinger, and the unbroken curve of outline. The execution is, however, raw and crude, and entirely wanting in the magic quality of the master's own touch. Hampton Court Palace Gallery
But, although the number of Giorgione's extant works has been thus limited by recent criticism, all is not done when the real and the traditional elements in what concerns him have been discriminated; for, in what is connected with a great name, much that is not real is often very stimulating; and, for the aesthetic philosopher, over and above the real Giorgione and his authentic extant works, there remains the Giorgionesque also an influence, a spirit or type in art, active in men so different as those to whom many of his supposed works are really assignable a veritable school, which grew together out of all those fascinating works rightly or wrongly attributed to him; out of many copies from, or variations on him, by unknown or uncertain workmen, whose drawings and designs were, for various reasons, prized as his; out of the immediate impression he made upon his contemporaries, and with which he continued in men's minds; out of many traditions of subject and treatment, which really descend from him to our own time, and by retracing which we fill out the original image; Giorgione thus becoming a sort of impersonation of Venice itself, its projected reflex or ideal, all that was intense or desirable in it thus crystallising about the memory of this wonderful young man.
The Three Ages in the Bridgewater Gallery and the so-called Sacred and Profane Love in the Borghese Gallery represent the apogee of Titian's Giorgionesque style.
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