#venetian painter

[galleryofart]

A Woman Holding an Apple

Artist: Titian (Venetian, 1488/1490 - 1576)

Date: c. 1550

Medium: Oil on canvas

Collection: National Gallery of Art, Washington, DC, United States

Description

A striking young woman - with loose, untied hair and sleeves and a richly jeweled but informal gown - returns the viewer’s gaze. In her time, a viewer would have seen her as being in a state of semi undress. She cradles an apple in her hands, which in art often connotes female sexuality.

Despite the painting’s portrait like format, Titian probably did not depict a specific person here. He and other Venetian artists of the day painted many pictures representing beautiful young women, but it is often unclear whether such pictures are meant to be recognizable portraits of members of contemporary society or idealized images of anonymous beauties. Although the images may reflect Venetian courtesan culture of the period, there is no evidence that real courtesans had themselves portrayed in this way. Rather, such pictures may be interpreted as fanciful portrayals of female beauty, designed to appeal to the eyes of the painting’s owner.

[sardosycserokyric]

Vittore Carpaccio, The Visit of Hippolyta, Queen of the Amazons, to Theseus, King of Athens, c. 1495, oil on wood panel.

[ahb-writes]

Aurora by Giovanni Battista Tiepolo

[arrayed-in-purple]

𝐏𝐞𝐧𝐢𝐭𝐞𝐧𝐭 𝐌𝐚𝐠𝐝𝐚𝐥𝐞𝐧𝐞

𝐃𝐨𝐦𝐞𝐧𝐢𝐜𝐨 𝐓𝐢𝐧𝐭𝐨𝐫𝐞𝐭𝐭𝐨

𝟏𝟓𝟗𝟖-𝟏𝟔𝟎𝟐

𝐎𝐢𝐥 𝐨𝐧 𝐜𝐚𝐧𝐯𝐚𝐬

[solcattus]

Venetian woman on the balcony

By Franz Lefler

[kustavglimt]

Tintoretto: Susanna and the Elders (1555-1556)

[wadim-hohn]

The Flute Player, 16th century by Niccolo Frangipane (act 1563-1597), oil on canvas 46,5x58 cm

[royalty-nobility]

Portrait of Francesco Maria della Rovere

Artist: Titian (Pieve di Cadore) (Italian, 1488/1490-1576)

Date: ca. 1537

Medium: Oil on canvas

Collection: Uffizi Gallery, Florence, Italy

Description

The execution by Titian of the portrait of Francesco Maria, Duke of Urbino, (1490-1538) is documented in the period 1536 to 1538.

Titian portrays Francesco Maria to mid thigh level, with his Venetian baton in his fist and wearing a polished suit of armour that stands out against a background of crimson velvet cloth. Under the armour, as can be seen from the sleeves, the Duke is wearing an outfit in black and yellow, the heraldic colours of the Montefeltro house, to remind us that he belongs to this family as the son of Giovanna da Montefeltro and the grandson of famous condottiere, Federico.

On the shelf behind him, to the left, is a helmet topped by a dragon, while on the right are the batons of command of the papacy, Florence, and Venice, with an oak branch in reference to the blood line of Francesco Maria and the house of della Rovere and its illustrious member, his uncle, Pope Julius II.

[wadim-john]

Apollo and Marsyas, 17th century by Giulio Carpioni (1613-1678), oil on canvas 85x100 cm. Privat Collection

[noomyguts]

half way through the vampire armand, and he loves love and god and family and the world, like can't emphasis enough how his love for others is repeated to be the direct connection to his humanity

hope nothing bad happens to rock the foundations of his very being

[galleryofart]

View of the Church of Santa Maria della Salute with the Dogana del Mare

Artist: Francesco Guardi (Italian, 1712-1793)

Date: c. 1770-1780

Medium: Oil on canvas

Collection: Norton Simon Museum, Pasadena, CA, United States

Description

Francesco Guardi specialized in painting picturesque views of Venice for European tourists. Depicted here is Santa Maria della Salute, the great domed church that dominates the mouth of the Grand Canal. Guardi characteristically emphasized not the specific Venetian monument, but his overall impression of the scene: the lively figures, the crisscross of boats in the canal and, above all, the effects of sunlight, water and open sky. This animated composition shows the loose, broken brushwork and delicate rendering of sparkling water and moist atmosphere that would later inspire the Impressionists.

Born and bred in Venice, recognition and financial security came to Guardi only as he approached middle age. Fame arrived posthumously and he is now recognized as one of Venice’s most poetic artists celebrated for his evocative views of his native city.

[beyourselfchulanmaria]

Shaun Berke (American, b. 1983)

Adoration of the Magi, 2015

[solcattus]

The bridal jewelry. Venetian women in the 16th century, 1872

By Cesare Dell'acqua

[portrait-paintings]

Andrea Odoni

Artist: Lorenzo Lotto (Italian, c. 1480-1556)

Date: 1527

Medium: Oil on canvas

Collection: Royal Collection Trust, London, United KIngdom

Description

This portrait of the successful Venetian merchant Andrea Odoni (1488-1545) is one of the most innovative and dynamic portraits of the Italian Renaissance by Lorenzo Lotto, recently returned to Venice after thirteen years in Bergamo and anxious to impress possible patrons in Venice. The Venetian collector holds in one hand a statuette of Diana of Ephesus, symbol of nature and idolatry, and with the other he clasps a cross to his chest. One of several interpretations of this gesture is that Christianity takes precedence over nature and the pagan gods of antiquity.

The portrait has aptly been described as one of the finest and most ambitious of all of Lotto's portraits and a deliberate challenge to Titian's supremacy in the field. The portrait was recorded in the owner's bedroom in his house on the Fondamenta del Gaffero by Marcantonio Michiel when he visited the collection in 1532. Giorgio Vasari mentions the portrait 'che è molto bello', which he must have seen when he visited Venice ten years later. The painting was also included in the 1555 inventory of his brother and heir, Alvise Odoni.

The son of a wealthy recent Milanese immigrant to the city, Andrea Odoni was an important member of the cittadini. He built upon the collection which he had inherited from his uncle, Francesco Zio, to become a renowned collector of paintings, sculpture, antique vases, coins, gems and natural history specimens. This portrait was hung in Odoni's bedroom alongside The Virgin and Child with the Infant St John and a Female Saint or Donor, now in the National Gallery, London. The house also contained an unusual combination of ancient and modern statuary, with 'mutilated and lacerated antique marble heads and other figures'. Pietro Aretino (the poet and satirist) wrote to Odoni (in a letter of 1538) that he had recreated Rome in Venice, though elsewhere he describes the splendours of the house in a tone that suggests it overstepped the boundaries of Venetian decorum. Giorgio Vasari called Odoni's house 'a friendly haven for men of talent'.

[wadim-hohn]

Allegory of hearing (Аuditus), c. 1650 by Pietro della Vecchia (1602-1678), oil on canvas 73x139 cm

[waldires]

Noblemen promenading in a garden, 16th century by Bonifacio de Pitati (1481-1553)