Giorgione Born in 1477 in Castelfranco Veneto, died in Venice in 1510, he is the familiar name of Giorgio Barbarelli da Castelfranco, an Italian painter, one of the seminal artists of the High Renaissance in Venice. Giorgione is known for the elusive poetic quality of his work, and for the fact that only very few (around six) paintings are known for certain to be his work. The resulting uncertainty about the identity and meaning of his art has made Giorgione one of the most mysterious figures in European painting.
Giorgione's life is described in Giorgio Vasari's Vite. The painter came from the small town of Castelfranco Veneto, outside Venice. His name sometimes appears as Zorzo. The variant Giorgione (or Zorzon) may be translated "Big George". How early in boyhood he went to Venice we do not know, but stylistic evidence supports the statement of Carlo Ridolfi that he served his apprenticeship there under Giovanni Bellini; there he settled and made his fame.
All accounts agree in representing Giorgione as a person of distinguished and romantic charm, a great lover and musician, given to express in art the sensuous and imaginative grace, touched with poetic melancholy, of the Venetian existence of his time. They represent him further as having made in Venetian painting an advance analogous to that made in Tuscan painting by Leonardo more than twenty years before; that is, as having released the art from the last shackles of archaic rigidity and placed it in possession of full freedom and the full mastery of its means.
He was certainly very closely associated with Titian; Vasari says Giorgione was Titian's master, whilst Ridolfi says they both were pupils of Bellini, and lived in his house. They worked together on the Fondaco dei Tedeschi frescoes, and Titian finished at least some paintings of Giorgione after his death, although which ones remains very controversial.
He had died, probably of the plague then raging, by October 1510.
Though he died at the young age of 33, Giorgione left a lasting legacy to be developed by Titian and 17th-century artists. Giorgione never subordinated line and colour to architecture, nor an artistic effect to a sentimental presentation. He was the first to paint landscapes with figures, the first to paint genre ? movable pictures in their own frames with no devotional, allegorical, or historical purpose ? and the first whose colours possessed that ardent, glowing, and melting intensity which was so soon to typify the work of all the Venetian School.
Laura painted in 1506, on loan from Kunsthistorisches Museum
http://i272.photobucket.com/albums/jj171/Azjahh/Art%20Museum/GiorgioneLaura.jpg
Venus sleeping on loan from the Museum of Dresden.
http://i272.photobucket.com/albums/jj171/Azjahh/Art%20Museum/GiorgioneVenus_dormida.jpg
Tempest, circa 1505 on loan from Gallerie dell'Accademia, Venice, Italy
http://i272.photobucket.com/albums/jj171/Azjahh/Art%20Museum/Giorgione_tempest.jpg
Judgment of Solomon, 1501, oil on panel, on loan from Galleria degli Uffizi, Florence
http://i272.photobucket.com/albums/jj171/Azjahh/Art%20Museum/Giorgione_judgmentofSalomone.jpg
((All information taken from Wikipedia. All images are beyond copyright expiration and are public domain.))
Giorgione's life is described in Giorgio Vasari's Vite. The painter came from the small town of Castelfranco Veneto, outside Venice. His name sometimes appears as Zorzo. The variant Giorgione (or Zorzon) may be translated "Big George". How early in boyhood he went to Venice we do not know, but stylistic evidence supports the statement of Carlo Ridolfi that he served his apprenticeship there under Giovanni Bellini; there he settled and made his fame.
All accounts agree in representing Giorgione as a person of distinguished and romantic charm, a great lover and musician, given to express in art the sensuous and imaginative grace, touched with poetic melancholy, of the Venetian existence of his time. They represent him further as having made in Venetian painting an advance analogous to that made in Tuscan painting by Leonardo more than twenty years before; that is, as having released the art from the last shackles of archaic rigidity and placed it in possession of full freedom and the full mastery of its means.
He was certainly very closely associated with Titian; Vasari says Giorgione was Titian's master, whilst Ridolfi says they both were pupils of Bellini, and lived in his house. They worked together on the Fondaco dei Tedeschi frescoes, and Titian finished at least some paintings of Giorgione after his death, although which ones remains very controversial.
He had died, probably of the plague then raging, by October 1510.
Though he died at the young age of 33, Giorgione left a lasting legacy to be developed by Titian and 17th-century artists. Giorgione never subordinated line and colour to architecture, nor an artistic effect to a sentimental presentation. He was the first to paint landscapes with figures, the first to paint genre ? movable pictures in their own frames with no devotional, allegorical, or historical purpose ? and the first whose colours possessed that ardent, glowing, and melting intensity which was so soon to typify the work of all the Venetian School.
Laura painted in 1506, on loan from Kunsthistorisches Museum
http://i272.photobucket.com/albums/jj171/Azjahh/Art%20Museum/GiorgioneLaura.jpg
Venus sleeping on loan from the Museum of Dresden.
http://i272.photobucket.com/albums/jj171/Azjahh/Art%20Museum/GiorgioneVenus_dormida.jpg
Tempest, circa 1505 on loan from Gallerie dell'Accademia, Venice, Italy
http://i272.photobucket.com/albums/jj171/Azjahh/Art%20Museum/Giorgione_tempest.jpg
Judgment of Solomon, 1501, oil on panel, on loan from Galleria degli Uffizi, Florence
http://i272.photobucket.com/albums/jj171/Azjahh/Art%20Museum/Giorgione_judgmentofSalomone.jpg
((All information taken from Wikipedia. All images are beyond copyright expiration and are public domain.))