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Updated: June 24, 2025
One need but compare it with Titian's representations of the same subject, and still more with Palma's versions at Dresden and Cambridge, or with Cariani's "Venus" at Hampton Court, to see the classic purity of form, the ideal loveliness of Giorgione's goddess. It is no mere accident that she alone is sleeping, whilst they solicit attention.
I would rather talk of their gallery than their government: and surely nothing made by man ever so completely answered a raised expectation, as the apparent contest between Titian's recumbent beauty, glowing with colour and animated by the warmest expression, and the Greek statue of symmetrical perfection and fineness of form inimitable, where sculpture supplies all that fancy can desire, and all that imagination can suggest.
With this we may leave the question of Titian's birth date, and consider the exceptional interest attaching to the question of this Barberigo portrait. According to Mr. Cook, and also, under reserve, to several other eminent authorities, it is no other than the so-called Ariosto, which was purchased for the National Gallery in 1904.
It has been pointed out by Titian's biographers that the wars which followed upon the League of Cambrai had the effect of dispersing all over North Italy the chief Venetian artists of the younger generation.
No, I do not know whether she was pretty, but she possessed in her person all the attractions of Giorgione's goddesses and Titian's courtesans combined!" Maurice is still the same wicked fellow. But, bah! it suits him; he even boasts of it with such a joyous ardor and such a youthful dash, that it is only one charm the more in him. The clock struck seven, and they went to dine.
Without the subtle distinction of Titian's art, or the marvellous power of characterisation and expression that he possessed with the earlier men, Tintoretto's work is noble, and almost lyrical in its confidence and beauty.
"On its arrival at Paris, the committee of the fine arts found it necessary to remove the painting from the pannel, and place it on canvass; but the picture has lost the principal light. "But to sum up Titian's powers of conception, no one has equalled him in the propriety and fitness of colour. His pictures of St.
The examination in detail of all those pictures best entitled, on internal evidence, to rank as genuine productions of Giorgione has incidentally revealed to us much that is characteristic of the man himself. We started with the axiom that a man's work is his best autobiography, and where, as in Giorgione's case, so little historical or documentary record exists, such indications of character as may be gleaned from a study of his life's work become of the utmost value. Le style c'est l'homme is a saying eminently applicable in cases where, as with Giorgione, the personal element is strongly marked. The subject, as we have seen over and over again, is so highly charged with the artist's mood, with his individual feelings and emotions, that it becomes unrecognisable as mere illustration, and the work passes by virtue of sheer inspiration into the higher realms of creative art. Such fusion of personality and subject is the characteristic of lyrical art, and in this domain Giorgione is a supreme master. His genius, as Morelli rightly pointed out, is essentially lyrical in contradistinction to Titian's, which is essentially dramatic. Take the epithets that we have constantly applied to his pictures in the course of our survey, and see how they bear out this statement epithets such as romantic, fantastic, picturesque, gay, or again, delicate, refined, sensitive, serene, and the like; these bear witness to qualities of mind where the keynote is invariably exquisite feeling. Giorgione was, in fact, what is commonly called a poet-painter, gifted with the artistic temperament to an extraordinary degree, essentially impulsive, a man of moods. It is inevitable that such a man produces work of varying merit; inequality must be a characteristic feature of his art. In less fortunate circumstances than those in which Giorgione was placed, such temperaments as his become peevish, morose, morbid; but his lines were cast in pleasant places, and his moods were healthy, joyous, and serene. He does not concern himself with the tragedy of life, with its pathos or its disappointments. In his two renderings of "Christ bearing the Cross" the only instances we have of his portrayal of the Man of Sorrows he appeals more to our sense of the dignity of humanity, and to the nobility of the Christ, than to our tenderer sympathies. How different from the pathetic Piet
No purpose would be served here by recording how much paint has been abraded in one corner, how much added in another. A deep sense of thankfulness should possess us that the highest manifestation of Titian's genius has been preserved, even though it be shorn of some of its original beauty.
A long, low, gloomy upstairs chamber with a huge penthouse fire-place jutting into the room, was evidently as old as the days of Titian's grandfather, to whom the house originally belonged; while a very small and very dark adjoining closet, with a porthole of window sunk in a slope of massive wall, was pointed out as the room in which the great painter was born.
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