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tradition
Giorgione initiated appear to have had this purpose, and not to have been sold to the sitter. The subjects of his non-religious figure paintings are equally hard to discern. Perhaps the first question to ask is whether there was intended to be a specific meaning to these paintings that ingenious research can hope to recover. Many art historians argue that there is not: "The best evidence, perhaps, that Giorgione's pictures were not particularly esoteric in their meaning is provided by the fact that while his stylistic innovations were widely adopted, the distinguishing feature of virtually all Venetian non-religious painting in the first half of the 16th century is the lack of learned or literary content".
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but debate is, if anything, more fierce now than then. There are effectively two fronts on which the battles are fought: paintings with figures and landscape, and portraits. According to David Rosand in 1997, "The situation has been thrown into new critical confusion by
Alessandro Ballarin's radical revision of the corpus ... ... as well as Mauro Lucco ... ." Recent major exhibitions at Vienna and Venice in 2004 and Washington in 2006, have given art historians further opportunities to see disputed works side by side (see External links below).
915:, which are very close in style and, according to Charles Hope, have been "more and more frequently given to Titian, not so much because of any very compelling resemblance to his undisputed early works—which would surely have been noted before—as because he seemed a less implausible candidate than Giorgione. But no one has been able to create a coherent sequence of Titian's early works that includes these ones, in a way that commands general support, and fits the known facts of his career. An alternative proposal is to assign the
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a Titian. In the late 19th century a great
Giorgione revival began, and the fashion ran the other way. Despite well over a century of dispute, controversy remains active. Large numbers of pictures attributed to Giorgione a century ago, in particular portraits, are now firmly excluded from his oeuvre,
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Apart from the altarpiece and the frescoes, all
Giorgione's surviving works are small paintings designed for the wealthy Venetian collector to keep in his home; most are under two feet (60 cm) in either dimension. This market had been emerging over the last half of the 15th century in Italy, and
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and later by
Ridolfi (his 17th-century biographer) in the Casa Marcello at Venice. An exquisitely pure and severe rhythm of line and contour chastens the sensuous richness of the painting. The sweep of white drapery on which the goddess lies; and the glowing landscape that fills the space behind her;
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Although he died in his thirties, 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 arguably the first
Italian to paint landscapes with figures
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complained: "In fact, there are only three paintings known today for which there is clear and credible early evidence that they were by him. Despite this, he is now generally credited with between twenty and forty paintings. But most of these ... bear no resemblance to the three just mentioned. Some
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His name and work continue to exercise a spell on posterity. But to identify and define, among the relics of his age and school, precisely what that work is, and to distinguish it from the similar work of other men whom his influence inspired, is a very difficult matter. Although there are no longer
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on the occasion of the Tuscan master's visit to Venice in 1500. All accounts agree in representing
Giorgione as a person of distinguished and romantic charm, a great lover and a musician, given to express in his art the sensuous and imaginative grace, touched with poetic melancholy, of Venetian life
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Primary documentation for attributions comes from the
Venetian collector Marcantonio Michiel. In notes dating from 1525 to 1543 he identifies twelve paintings and one drawing as by Giorgione, of which five of the paintings are identified virtually unanimously with surviving works by art historians:
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and portraits he painted pictures that told no story, whether biblical or classical, or if they professed to tell a story, neglected the action and simply embodied in form and color moods of lyrical or romantic feeling, much as a musician might embody them in sounds. Innovating with the courage and
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Attributions of work by
Giorgione's hand dates from soon after his death, when some of his paintings were completed by other artists, and his considerable reputation also led to very early erroneous claims of attribution. The vast bulk of documentation for paintings in this period relates to large
731:. The latter "reveals the Venetians' love of textures", because the painter "renders almost palpable the appearance of flesh, fabric, wood, stone, and foliage". The painting is devoid of harsh contours and its treatment of landscape has been frequently compared to pastoral poetry, hence the title.
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to
Giorgione; in the second edition completed in 1568 he ascribed authorship, variously, to Giorgione in his biography, which was printed in 1565, and to Titian in his, printed in 1567. He had visited Venice in between these dates, and may have obtained different information. The uncertainty in
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Few of the portraits attributed to Giorgione appear as straightforward records of the appearance of a commissioning individual, although it is entirely possible that many are. Many can be read as types designed to express a mood or atmosphere, and certainly many of the examples of the portrait
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any supporters of the "Pan Giorgionismus" which a century ago claimed for Giorgione nearly every painting of the time that at all resembles his manner, there are still, as then, exclusive critics who reduce to half a dozen the list of extant pictures that they will admit to be by this painter.
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published in Venice in 1497, gives precise dates for the painter's birth and death, telling us that he died on 17 September 1510, at the age of 36. This would mean that Giorgione was born at some point between 18 September 1473 and 17 September 1474, a few years earlier than had previous been
342:, who died in his thirties. He is known for the elusive poetic quality of his work, though only about six surviving paintings are firmly attributed to him. The uncertainty surrounding the identity and meaning of his work has made Giorgione one of the most mysterious figures in European art.
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commissions for Church or government; the small domestic panels that make up the bulk of Giorgione's oeuvre are always far less likely to be recorded. Other artists continued to work in his style for some years, and probably by the mid-century deliberately deceptive work had started.
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2172:, 1983, Royal Academy of Arts, London, after considering Mancini, is one of those happy to attribute the painting to Titian. The Mancini suggestion comes originally from a German article of 1933 by J. Wilde: "Die Probleme um Domenico Mancini", JKSW
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Matters are further complicated because no drawing can be certainly identified as by Giorgione (although one in Rotterdam is widely accepted), and a number of aspects of the arguments over the defining of Giorgione's late style involve drawings.
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most harmoniously frame her divinity. The use of an external landscape to frame a nude is innovative; but in addition, to add to her mystery, she is shrouded in sleep, spirited away from accessibility to any conscious expression.
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as 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
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as well. It is exceedingly difficult and sometimes simply impossible to differentiate Titian's early works from those of Giorgione. None of Giorgione's paintings are signed and only one bears a reliable date: his portrait of
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656:, but Giorgione was the first major Italian painter to concentrate his work on it to such an extent—indeed soon after his death the size of paintings began to increase with the prosperity and palaces of the patrons.
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Despite being greatly praised by contemporary writers and remaining a great name in Italy, Giorgione became less known to the wider world, and many of his (probable) paintings were assigned to others. The Hermitage
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Consalvo Ferrante. In 1504, he was commissioned to paint an altarpiece in memory of another condottiere, Matteo Costanzo, in the cathedral of his native town, Castelfranco. In 1507, he received, at the order of the
1546:"Some recent discoveries supply a little more information about Giorgione′s short life. An inscription on a previously unknown drawing, perhaps by Giorgione, appended to the final page of an edition of Dante's
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and lived together in his home. 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 controversial.
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to a Venetian friend; asking him to buy a painting by Giorgione; the letter shows she was aware he was already dead. Significantly, the reply a month later said the painting was not to be had at any price.
430:(or German Merchants' Hall) at Venice, having already done similar work on the exterior of the Casa Soranzo, the Casa Grimani alli Servi and other Venetian palaces. Very little of this work now survives.
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enthroned, with saints on either side forming an equilateral triangle. This gave the landscape background an importance which marks an innovation in Venetian art, and was quickly followed by his master
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900:), described in 2003 as "perhaps the most contentious problem of attribution in the whole of Italian Renaissance art," but affects a large number of paintings possibly from Giorgione's last years.
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648:, a large painting which exhibits Giorgione's special qualities of color richness and landscape romance, while demonstrating that life and death are each other's companions rather than foes.
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is the only work with his name and the date (1506). This is on the back and is not necessarily by his own hand, but does appear to come from the period. The early pair of paintings in the
949:(see Gallery) and he is an alternative choice for a number of drawings that might be by Titian or Giorgione, and both are sometimes credited with the design of some of his engravings.
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and of many more by other painters of the school; but none of them attained the fame of the first exemplar. The same concept of idealized beauty is evoked in a virginally pensive
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1719:, and Jody Robin Shiffman; translated by Julia Conaway Bondanella and Peter Bondanella. University Park, Pennsylvania: The Pennsylvania State University Press, 1996, p. 60.
755:, acclaimed by art historians for "the indescribably subtle expression of serenity and the immobile features, added to the chiseled effect of the silhouette and modeling".
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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.
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offer many interpretations, but none is wholly satisfying. Theories that the painting is about duality (city and country, male and female) have been dismissed since
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in the Venetian lagoon, but an archival document published for the first time in 2011 places his death on the island of Lazzareto Nuovo; both were used as places of
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1510 Ihs Maria. On the day of 17 September, Giorgione of Castelfranco, a very excellent artist died of the plague in Venice at the age of 36 and he rests in peace"
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is equally enigmatic and its attribution to Giorgione is still disputed. The three figures stand near a dark empty cave. Sometimes interpreted as symbols of
1653:, a librarian discovered an original Giorgione sketch that included a definitive date and cause of death for the artist, with an ink inscription that reads "
1016:, who insisted it was an early Titian. Berenson had played a significant part in reducing the Giorgione catalogue, recognising fewer than twenty paintings.
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Vienna, illustrated below. Described in 2007 as "a rare example of a painting still universally attributed to Giorgione" in Lucy Whitaker, Martin Clayton,
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1927:"Originally attributed to Giorgione, it is now thought that Titian reworked or finished most of the picture except for the nude". Ian G. Kennedy,
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Contemporary documents record that his talent was recognized early. In 1500, when he was in his twenties, he was chosen to paint portraits of the
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felicity of genius, he had for a time an overwhelming influence on his contemporaries and immediate successors in the Venetian school, including
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portrays a man and a breast-feeding woman on either side of a stream, amid a city's rubble and an incoming storm. The multitude of symbols in
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Dalvit and Peyton, pp. 44, 46, state that "only four can be assigned to him with certainty: a portrait of an unidentified sitter now in
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as finished by Titian (it is now generally agreed that Titian did the landscape). Some recent art historians also involve Titian in the
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techniques and first brought into oil painting. These gave Giorgione's works the magical glow of light for which they are celebrated.
2168:, 2003, op. cit., p. 14. Francis Richardson, who wrote the catalogue entry for the Prado painting (no. 34) in: Jane Martineau (ed.),
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A group of paintings from an earlier period in Giorgione's short career is sometimes described as the "Allendale group", after the
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Listed as "Giorgione (?)" in the 1996 Prado catalogue, which notes the debate, but in 2007 labelled as Titian in the gallery. See
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in Vienna, and sometimes other works, are increasingly included in or sometimes excluded from Giorgione's oeuvre. Ironically, the
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and the other pictures like it to a third artist, the very obscure Domenico Mancini." While Crowe and Cavalcaselle considered the
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which subsequent restoration has removed, were completed after his death by Titian. The picture is the prototype of Titian's own
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in his hometown has rarely, if ever, been doubted, nor have the wrecked fresco fragments from the German warehouse. The Vienna
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Giorgione. Atti del Convegno internazionale di studio per il quinto centenario della nascita (Castelfranco Veneto 1978)
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then raging, on the 17th of September, 1510. He was usually thought to have died and been buried on the island of
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The precise date is cited in Nichols, p. 19. Vasari, in both editions, gives Giorgioni's year of death as 1511.
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distinguishing between the painting of Giorgione and the young Titian is most apparent in the case of the
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is therefore the only one of the group universally accepted as wholly by Giorgione. In addition, the
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has shown that in the earlier stages of the painting the man to the left was a seated female nude.
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It is recorded by Michiel that Giorgione left this piece unfinished and that the landscape, with a
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1419:, London, little known until the middle of the 20th century, and still a controversial attribution
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Unglaub, Jonathan, "The Concert Champêtre: The Crises of History and the Limits of Pastoral."
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Tour: Giorgione and the High Renaissance in Venice, National Gallery of Art, Washington, DC
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review of a major 1993 Paris exhibition, which lists some Ballarin additions to the corpus
2029:, The Sixteenth Century Italian Schools, National Gallery Catalogues, London 1975, p. 107,
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1404:, "The Old Woman", Accademia. The paper she holds reads, "Col tempo" or "With time".
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2451:. Introduction by Cecil Gould. Notes by Pietro Zampetti. NY: Harry N. Abrams. 1968.
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693:. The subject of this painting is unclear, but its artistic mastery is apparent.
2422:, New Haven, CT: Yale University Press, 2006 (accompanying an exhibition at the
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of them might be by Giorgione, but in most cases there is no way of telling".
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Giovanni Morelli and his friend Giorgione: connoisseurship, science and irony
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Richter, George Martin (1 January 1932). "A Clue to Giorgione's Late Style".
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from Palazzo Pitti as Giorgione's masterpiece but disattributed the Louvre's
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996:. The paintings in this group, now often expanded to include a very similar
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Brown, D. A., Ferino Pagden, S., Anderson, J., & Berrie, B. H. (2006).
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819:(not all accept the last as by Giorgione however). Michiel describes the
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1684:"Divine discovery: Renaissance art found by Sydney University librarian"
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2487:, Ausst. Kat. Kunsthistorisches Museum Wien, Wien, 2004 (translated as
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Vasari, Giorgio; Conaway Bondanella, Julia; Bondanella, Peter (1991).
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Masters in Arts: A Series of Illustrated Monographs ... Giorgioni ...
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Bellini, Giorgione, Titian, and the Renaissance of Venetian Painting
1731:"Dante's Divine Comedy with Giorgione illustration and death notice"
1659:"Dante's Divine Comedy with Giorgione illustration and death notice"
1559:"Dante's Divine Comedy with Giorgione illustration and death notice"
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2155:, 1996, p. 129, Ministerio de Educación y Cultura, Madrid, No ISBN.
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Most central and typical of all of Giorgione's extant works is the
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This article incorporates text from a publication now in the
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Bellini·Giorgione·Titian and the Renaissance of Venetian Painting
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The Art of Italy in the Royal Collection; Renaissance and Baroque
1216:- Oil on canvas, 68 x 59 cm, Gallerie dell'Accademia, Venice
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in times of plague. October 1510 is also the date of a letter by
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Madonna and Child Enthroned between St. Francis and St. Nicasius
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1567:
Nichols cites Anderson, Jaynie, et al., "Giorgione in Sydney",
1327:(Knabe mit Pfeil) (L'enfant à la flèche) (sometimes attributed)
383:, 40 km inland from Venice. His name sometimes appears as
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Lives of the Most Excellent Painters, Sculptors, and Architects
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After that, things become more complicated, as exemplified by
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2258:, 1952, (many editions). By the last (1957) edition of his
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2291:, 2nd ed. 1997, p. 186, n. 74; Cambridge University Press,
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as having been completed by Sebastiano del Piombo, and the
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Giorgione also introduced a new range of subjects. Besides
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1593:, formerly in the Terris collection ... ; the famous
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Vasari's 1550 edition gives Giorgione's birth year as 1477
965:. The "Allendale Group" takes its name from this painting.
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2115:, The National Gallery Company/Yale, p. 12, London 2003,
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For his home town of Castelfranco, Giorgione painted the
2202:, National Gallery of Art, Washington, 1992, pp. 146–7,
2135:, The National Gallery Company/Yale, p. 14, London 2003
981:. This group includes another Washington painting, the
403:; there he settled and rose to prominence as a master.
2560:, November 9, 2023 to February 4, 2024. Exhibition of
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Bellini and Giorgione in the House of Taddeo Contarini
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1457:, another of the more frequently attributed portraits
1063:, before recent cleaning. Giorgione's only altarpiece
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What little is known of Giorgione's life is given in
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is one of a small group of paintings, including the
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and others. Giorgione began to use the very refined
197:; 1477–78 or 1473–74 – 17 September 1510), known as
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2480:, 2023. Catalogue for exhibition in External links.
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2299:For some Ballarin attributions, see previous note.
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1441:), one of the most frequently attributed portraits
1271:- Oil on canvas, 90 x 73 cm, Uffizi, Florence
909:Virgin and Child with Saint Anthony and Saint Roch
863:, Paris. A work that the museum now attributes to
2516:Video: "Giorgione and the problem of attribution"
1918:, pp. 29–30, 1983, Royal Academy of Arts, London.
958:The Allendale Nativity/Adoration of the Shepherds
2505:, Vol. 5, no. 1 (Spring - Summer, 1997): 46–96.
2374:. Vol. 12 (11th ed.). pp. 31–33.
2078:, p. 185, Royal Collection Publications, 2007,
1106:Oil on panel, 89 x 72 cm, Uffizi, Florence
780:. Attributed to Giorgione by Michiel, who said
2474:and Giorgione in the House of Taddeo Contarini
2237:Kunthistoriches Museum 2004 exhibition website
784:finished it; some modern writers also involve
399:that he served his apprenticeship there under
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2385:, National Gallery Catalogues, London 1975,
2017:, 1983, p. 35, Royal Academy of Arts, London
1040:But the situation remains confused; in 2012
2416:David Alan Brown and Sylvia Ferino-Pagden,
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2545:Giorgione death notice and original sketch
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3279:16th-century deaths from plague (disease)
2153:Museo del Prado, Catálogo de las pinturas
1711:, edited by Julia Conaway Bondanella and
1225:(c. 1509) now widely attributed to Titian
1161:- Oil on wood, 200 x 152 cm, Duomo,
2646:Portrait of Francesco Maria della Rovere
1914:Teresa Pignati in Jane Martineau (ed.),
1890:The Burlington Magazine for Connoisseurs
1613:in Vienna; and, in the same museum, the
1346:One of the "Allendale group", the small
1004:caused the rupture in the 1930s between
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2096:From the Louvre Museum Official Website
1996:. Washington: National Gallery of Art.
1823:. Kent State University Press. p.
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345:Together with his younger contemporary
2254:"his works ... not a score in all" in
2013:Charles Hope in Jane Martineau (ed.),
1536:Vasari's 1568 edition gives it as 1478
1282:- Oil on canvas, 108,5 x 175 cm,
329:
2383:The Sixteenth Century Italian Schools
1637:. New York: Oxford University Press.
1571:, CLXI/1392 (March 2019), pp. 190-99.
320:
7:
2289:Painting in Sixteenth-Century Venice
2219:NGA 2006 exhibition brochure, page 4
1266:Portrait of Warrior with his Equerry
1242:- Oil on canvas, 72,5 x 54 cm,
1227:- Oil on canvas, 110 x 138 cm,
1139:Oil on panel, 90.8 x 110.5 cm,
1028:for example, was long regarded as a
975:Allendale Adoration of the Shepherds
462:He was very closely associated with
349:, he founded the Venetian school of
2464:, London, UK: Reaktion Books, 2020.
2449:The Complete Paintings of Giorgione
2256:Italian Painters of the Renaissance
2131:Charles Hope in David Jaffé (ed.),
2111:Charles Hope in David Jaffé (ed.),
1682:Slattery, Luke (16 February 2019).
1555:(Reaktion Books, 2020, pp. 19-20);
1297:- Oil on canvas, 102 x 78 cm,
979:National Gallery of Art, Washington
931:and claimed instead that the Pitti
652:was much better established in the
2533:Giorgione featured on 10 Euro Coin
2398:, edited by William H.T. Vaughan,
2102:(meaning "Picnic") in older works.
1534:, CLXI/1392 (March 2019), p. 192;
1201:- Oil on canvas, 82 x 73 cm,
187:Giorgio Barbarelli da Castelfranco
63:Giorgio Barbarelli da Castelfranco
25:
2396:Encyclopedia of Artists, volume 2
1170:Portrait of a Young Bride (Laura)
454:Vasari mentions his meeting with
379:. He came from the small town of
334:), was an Italian painter of the
3211:
3199:
2562:St. Francis in Ecstasy (Bellini)
2348:
1500:
1486:Portrait of a Venetian Gentleman
1478:
1462:
1446:
1424:
1409:
1394:
1377:
1358:
1339:
1175:Oil on wood, 41 x 33,5 cm,
977:, rather more correctly) in the
738:revolutionized the genre of the
357:, which relied on a more linear
274:
209:
40:
3259:People from Castelfranco Veneto
3012:Antonio da Sangallo the Younger
2170:The Genius of Venice, 1500–1600
2015:The Genius of Venice, 1500–1600
1916:The Genius of Venice, 1500–1600
1886:An old art historians' jibe at
1869:Il Giornale d'Arte (in Italian)
1766:Herbert Frederick Cook (1904).
1012:as a Giorgione, and his expert
875:. In the first edition of the
1729:University of Sydney Library.
1557:University of Sydney Library.
1244:Museum of Fine Arts (Budapest)
1:
3269:16th-century Italian painters
3264:15th-century Italian painters
3095:
3058:
2491:, Milan, Italy: Skira, 2004).
2187:Journal of Art Historiography
2164:Charles Hope in Jaffé (ed.),
1311:- Wood, 69,4 x 53,5 cm,
616:. It was first recognized by
3234:Italian Renaissance painters
2549:University of Sydney Library
2494:Sylvia Ferino-Pagden (Hg.),
2485:Giorgione: Mythos und Enigma
2457:, Castelfranco Veneto, 1979.
2426:, Washington, D.C., and the
1663:University of Sydney Library
1651:University of Sydney Library
927:, Lermolieff reinstated the
351:Italian Renaissance painting
1284:Gemäldegalerie Alte Meister
558:Gemäldegalerie Alte Meister
103:(present day Veneto, Italy)
27:Italian painter (1478–1510)
3295:
3160:Johann Joachim Winckelmann
3150:Art patronage of Julius II
2749:Adoration of the Shepherds
2498:, Turnhout, Brepols, 2008.
2489:Giorgione: Myth and Enigma
1551:thought...." Tom Nichols,
1197:La Zingarella e il Soldato
1134:Adoration of the Shepherds
998:Adoration of the Shepherds
685:has been called the first
2698:Christ Carrying the Cross
2682:The Test of Fire of Moses
2439:Titian's Man in a Red Hat
2314:"At the National Gallery"
2224:October 12, 2012, at the
1603:in Venice; the so-called
1510:, attributed to Giorgione
1083:The Test of Fire of Moses
882:Christ Carrying the Cross
39:
2836:currently attributed to
2821:currently attributed to
2721:Il Tramonto (The Sunset)
2690:The Judgement of Solomon
2428:Kunsthistorisches Museum
2189:, No. 11, December 2014.
1815:Tobias, Michael (1995).
1633:The Lives of the Artists
1611:Kunsthistorisches Museum
1370:Kunsthistorisches Museum
1258:Kunsthistorisches Museum
1177:Kunsthistorisches Museum
1101:The Judgement of Solomon
994:National Gallery, London
879:(1550), he attributed a
734:Giorgione and the young
444:Kunsthistorisches Museum
2761:Portrait of a Young Man
2496:Giorgione entmythisiert
2424:National Gallery of Art
2371:Encyclopædia Britannica
2277:by Wendy Stedman Sheard
2242:March 25, 2005, at the
2198:John Dixon Hunt (ed.),
2098:It is often called the
1931:, Taschen, 2006, p. 48.
1929:Titian: circa 1490-1576
1853:The Burlington Magazine
1601:Gallerie dell'Accademia
1508:Portrait of a Young Man
1494:National Gallery of Art
1471:Portrait of a Young Man
1313:Alte Pinakothek, Munich
1307:Portrait of a Young Man
1203:Gallerie dell'Accademia
1193:La Zingara e il Soldato
1141:National Gallery of Art
1088:Oil on panel, 89 x 72,
963:National Gallery of Art
837:Castelfranco Altarpiece
749:Portrait of a Young Man
670:Gallerie dell'Accademia
326:
194:
18:Giorgio da Castelfranco
3274:Paintings by Giorgione
3111:Sistine Chapel ceiling
3076:San Pietro in Montorio
2982:Bernardino delle Croci
2773:Self-portrait as David
2737:The Three Philosophers
2566:The Three Philosophers
2521:London Review of Books
2483:Sylvia Ferino-Pagden,
2319:London Review of Books
2200:The Pastoral Landscape
1292:The Impassioned Singer
1251:The Three Philosophers
1211:La Vecchia (Old Woman)
1121:, 144 x 66,5 cm,
1119:transferred from panel
1064:
966:
868:
847:are usually accepted.
803:The Three Philosophers
789:
773:The Three Philosophers
710:The Three Philosophers
677:
601:Illuminated manuscript
565:
518:Giorgione died of the
451:
163:The Three Philosophers
48:possible self-portrait
3254:Italian male painters
3007:Sebastiano del Piombo
2937:Mariotto Albertinelli
2816:Shepherd with a Flute
2638:The Three Ages of Man
2627:Sebastiano del Piombo
2462:Giorgione's Ambiguity
1755:Catholic Encyclopedia
1553:Giorgione's Ambiguity
1348:Adoration of the Magi
1056:
987:Adoration of the Magi
955:
853:
816:Shepherd with a Flute
782:Sebastiano del Piombo
770:
662:
550:
485:Sebastiano del Piombo
436:
322:[dʒorˈdʒoːne]
101:, Republic of Venice
3239:Painters from Venice
3105:St. Peter's Basilica
2972:Antonio da Correggio
2889:Principal proponents
2666:Giustiniani Portrait
2658:Castelfranco Madonna
2556:, exhibition at the
1434:Giustiniani Portrait
1366:Young Man with Arrow
1319:Young Man with Arrow
1152:Castelfranco Madonna
1060:Castelfranco Madonna
571:Castelfranco Madonna
503:strongly influenced
428:Fondaco dei Tedeschi
157:Castelfranco Madonna
3037:Antonio Vassilacchi
2808:Formerly attributed
2703:also attributed to
2518:, by Charles Hope,
1848:Press release, 2011
1735:Digital Collections
1569:Burlington Magazine
1563:Digital Collections
1532:Burlington Magazine
1488:, by Giorgione and
1237:Portrait of a Youth
1163:Castelfranco Veneto
622:Marcantonio Michiel
580:sacra conversazione
381:Castelfranco Veneto
355:Florentine painting
70:Castelfranco Veneto
3002:Baldassare Peruzzi
2957:Moretto da Brescia
2942:Pellegrino Aretusi
2538:2023-03-31 at the
2468:Salomon, Xavier F.
2445:. 2022, pp. 44-53.
2433:Giulio Dalvit and
1874:2014-08-06 at the
1863:2014-05-03 at the
1858:Three-Pipe problem
1819:A Vision of Nature
1804:1903. p. 446.
1709:The Life of Titian
1616:Three Philosophers
1389:, Hermitage Museum
1323:Garçon à la flèche
1065:
1032:, and the Dresden
1002:Allendale Nativity
971:Allendale Nativity
967:
869:
829:Three Philosophers
790:
689:in the history of
678:
566:
452:
411:Agostino Barbarigo
114:Republic of Venice
74:Republic of Venice
66:1477–78 or 1473–74
3187:
3186:
3132:The Last Judgment
2921:Leonardo da Vinci
2848:
2847:
2084:978-1-902163-29-1
1970:"2006 Britannica"
1834:978-0-87338-483-4
1649:; In 2017 at the
1644:978-0-19-953719-8
1455:Portrait of a Man
1439:Portrait of a Man
1315:
1302:
1299:Galleria Borghese
1287:
1272:
1261:
1256:- Oil on canvas,
1246:
1232:
1217:
1206:
1183:
1165:
1147:
1129:
1117:- Oil on canvas,
1107:
1096:
1008:, who sold it to
939:Giulio Campagnola
811:Boy with an Arrow
788:in its completion
509:Domenico Capriolo
497:Giulio Campagnola
456:Leonardo da Vinci
331:[zoɾˈzoŋ]
263:-nay, -nee
184:
183:
95:1510 (aged 31–37)
16:(Redirected from
3286:
3216:
3215:
3204:
3203:
3202:
3195:
3155:Jacob Burckhardt
3100:
3099: 1502–1516
3097:
3063:
3062: 1492–1498
3060:
3017:Andrea del Sarto
2952:Ludovico Beretta
2882:High Renaissance
2875:
2868:
2861:
2852:
2831:Pastoral Concert
2819:(c. 1510–1515) (
2776:(c. 1509–1510) (
2764:(c. 1508–1510) (
2752:(c. 1505–1510) (
2740:(c. 1505–1510) (
2621:(c. 1500) (with
2596:
2589:
2582:
2573:
2558:Frick Collection
2478:Frick Collection
2476:. New York: The
2443:Frick Collection
2441:, New York: The
2435:Elizabeth Peyton
2375:
2354:
2352:
2351:
2336:
2335:
2333:
2331:
2306:
2300:
2285:
2279:
2269:
2263:
2252:
2246:
2234:
2228:
2216:
2210:
2196:
2190:
2179:
2173:
2162:
2156:
2149:
2143:
2129:
2123:
2109:
2103:
2093:
2087:
2072:
2066:
2065:
2063:
2062:
2053:. Archived from
2043:
2037:
2024:
2018:
2011:
2005:
1990:
1984:
1983:
1981:
1980:
1966:
1957:
1956:
1954:
1953:
1944:. Archived from
1938:
1932:
1925:
1919:
1912:
1906:
1905:
1896:(348): 123–132.
1884:
1878:
1845:
1839:
1838:
1822:
1812:
1806:
1805:
1796:
1790:
1789:
1780:
1774:
1773:
1763:
1757:
1752:
1746:
1745:
1743:
1741:
1726:
1720:
1713:Peter Bondanella
1707:Ridolfi, Carlo,
1705:
1699:
1698:
1696:
1694:
1679:
1673:
1672:
1670:
1669:
1648:
1636:
1626:
1620:
1587:
1581:
1578:
1572:
1566:
1544:
1538:
1525:
1504:
1482:
1466:
1450:
1428:
1413:
1398:
1381:
1362:
1343:
1310:
1296:
1281:
1270:
1255:
1241:
1226:
1222:Pastoral Concert
1215:
1200:
1174:
1160:
1138:
1123:Hermitage Museum
1116:
1105:
1087:
1014:Bernard Berenson
929:Pastoral Concert
925:Pastoral Concert
917:Pastoral Concert
905:Pastoral Concert
893:Pastoral Concert
856:Pastoral Concert
724:Pastoral Concert
691:Western painting
646:Hermitage Museum
618:Giovanni Morelli
589:Giovanni Bellini
513:Domenico Mancini
489:Palma il Vecchio
468:Giovanni Bellini
401:Giovanni Bellini
340:High Renaissance
333:
324:
319:
312:
306:
305:
302:
301:
298:
295:
292:
289:
286:
283:
280:
273:
262:
258:
253:
252:
249:
248:
245:
240:
239:
236:
233:
230:
227:
224:
221:
218:
215:
208:
174:High Renaissance
140:
124:Giovanni Bellini
104:
86:
44:
30:
21:
3294:
3293:
3289:
3288:
3287:
3285:
3284:
3283:
3224:
3223:
3222:
3210:
3200:
3198:
3190:
3188:
3183:
3138:
3124:Transfiguration
3098:
3061:
3054:The Last Supper
3041:
2997:Maffeo Olivieri
2977:Piero di Cosimo
2962:Gasparo Cairano
2925:
2896:Donato Bramante
2884:
2879:
2849:
2844:
2803:
2605:
2600:
2540:Wayback Machine
2512:
2413:
2411:Further reading
2360:
2349:
2347:
2344:
2339:
2329:
2327:
2312:(24 May 2012).
2308:
2307:
2303:
2286:
2282:
2270:
2266:
2253:
2249:
2244:Wayback Machine
2235:
2231:
2226:Wayback Machine
2217:
2213:
2197:
2193:
2180:
2176:
2163:
2159:
2150:
2146:
2130:
2126:
2110:
2106:
2094:
2090:
2073:
2069:
2060:
2058:
2045:
2044:
2040:
2025:
2021:
2012:
2008:
1991:
1987:
1978:
1976:
1968:
1967:
1960:
1951:
1949:
1940:
1939:
1935:
1926:
1922:
1913:
1909:
1887:
1885:
1881:
1876:Wayback Machine
1865:Wayback Machine
1846:
1842:
1835:
1814:
1813:
1809:
1798:
1797:
1793:
1785:Archivio veneto
1782:
1781:
1777:
1765:
1764:
1760:
1753:
1749:
1739:
1737:
1728:
1727:
1723:
1706:
1702:
1692:
1690:
1681:
1680:
1676:
1667:
1665:
1657:
1645:
1628:
1627:
1623:
1609:of 1506 at the
1588:
1584:
1579:
1575:
1556:
1545:
1541:
1526:
1522:
1518:
1511:
1505:
1496:
1483:
1474:
1467:
1458:
1451:
1442:
1429:
1420:
1414:
1405:
1399:
1390:
1382:
1373:
1363:
1354:
1344:
1335:
1078:
1070:Venetian School
1051:
935:was by Titian.
765:
635:Venus of Urbino
545:
532:Isabella d'Este
505:Morto da Feltre
367:
336:Venetian school
317:
310:
277:
268:
267:
260:
256:
242:
212:
203:
202:
178:Venetian school
160:
154:
148:
138:
105:
102:
96:
87:
76:
67:
65:
64:
54:
35:
28:
23:
22:
15:
12:
11:
5:
3292:
3290:
3282:
3281:
3276:
3271:
3266:
3261:
3256:
3251:
3246:
3241:
3236:
3226:
3225:
3221:
3220:
3208:
3185:
3184:
3182:
3181:
3180:
3179:
3170:Giorgio Vasari
3167:
3162:
3157:
3152:
3146:
3144:
3140:
3139:
3137:
3136:
3128:
3120:
3114:
3108:
3102:
3087:
3079:
3073:
3065:
3049:
3047:
3043:
3042:
3040:
3039:
3034:
3029:
3024:
3019:
3014:
3009:
3004:
2999:
2994:
2989:
2987:Girolamo Genga
2984:
2979:
2974:
2969:
2964:
2959:
2954:
2949:
2947:Fra Bartolomeo
2944:
2939:
2933:
2931:
2927:
2926:
2924:
2923:
2918:
2913:
2908:
2903:
2898:
2892:
2890:
2886:
2885:
2880:
2878:
2877:
2870:
2863:
2855:
2846:
2845:
2843:
2842:
2827:
2811:
2809:
2805:
2804:
2802:
2801:
2793:Sleeping Venus
2789:
2788:(c. 1508–1510)
2781:
2769:
2757:
2745:
2733:
2732:(c. 1506–1508)
2725:
2724:(c. 1505–1508)
2717:
2709:
2694:
2693:(c. 1502–1505)
2686:
2685:(c. 1502–1505)
2678:
2670:
2669:(c. 1503–1504)
2662:
2661:(c. 1503–1504)
2654:
2642:
2641:(c. 1500–1501)
2634:
2613:
2611:
2607:
2606:
2601:
2599:
2598:
2591:
2584:
2576:
2570:
2569:
2551:
2542:
2530:
2525:
2511:
2510:External links
2508:
2507:
2506:
2499:
2492:
2481:
2465:
2458:
2452:
2446:
2431:
2412:
2409:
2408:
2407:
2393:
2376:
2362:Colvin, Sidney
2343:
2340:
2338:
2337:
2301:
2287:David Rosand,
2280:
2264:
2247:
2229:
2211:
2191:
2174:
2157:
2144:
2124:
2104:
2100:Fête Champêtre
2088:
2067:
2051:Britannica.com
2038:
2019:
2006:
1985:
1974:Britannica.com
1958:
1933:
1920:
1907:
1879:
1840:
1833:
1807:
1791:
1775:
1758:
1747:
1721:
1700:
1688:The Australian
1674:
1643:
1621:
1582:
1573:
1539:
1519:
1517:
1514:
1513:
1512:
1506:
1499:
1497:
1484:
1477:
1475:
1468:
1461:
1459:
1453:The San Diego
1452:
1445:
1443:
1430:
1423:
1421:
1415:
1408:
1406:
1400:
1393:
1391:
1383:
1376:
1374:
1364:
1357:
1355:
1345:
1338:
1334:
1331:
1330:
1329:
1316:
1303:
1288:
1277:Sleeping Venus
1273:
1262:
1247:
1233:
1218:
1207:
1184:
1166:
1148:
1137:(c. 1505–10) -
1130:
1127:St. Petersburg
1108:
1097:
1077:
1076:Selected works
1074:
1050:
1047:
898:Fête champêtre
807:Sleeping Venus
764:
761:
609:Sleeping Venus
553:Sleeping Venus
544:
541:
420:Council of Ten
387:; the variant
371:Giorgio Vasari
366:
363:
182:
181:
171:
167:
166:
151:Sleeping Venus
141:
135:
134:
131:
130:Known for
127:
126:
121:
117:
116:
111:
107:
106:
97:
93:
89:
88:
68:
62:
60:
56:
55:
45:
37:
36:
33:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
3291:
3280:
3277:
3275:
3272:
3270:
3267:
3265:
3262:
3260:
3257:
3255:
3252:
3250:
3247:
3245:
3242:
3240:
3237:
3235:
3232:
3231:
3229:
3219:
3214:
3209:
3207:
3197:
3193:
3178:
3177:
3173:
3172:
3171:
3168:
3166:
3163:
3161:
3158:
3156:
3153:
3151:
3148:
3147:
3145:
3141:
3134:
3133:
3129:
3126:
3125:
3121:
3118:
3117:Raphael Rooms
3115:
3112:
3109:
3106:
3103:
3093:
3092:
3088:
3085:
3084:
3080:
3077:
3074:
3071:
3070:
3066:
3056:
3055:
3051:
3050:
3048:
3044:
3038:
3035:
3033:
3032:Palma Vecchio
3030:
3028:
3025:
3023:
3020:
3018:
3015:
3013:
3010:
3008:
3005:
3003:
3000:
2998:
2995:
2993:
2992:Lorenzo Lotto
2990:
2988:
2985:
2983:
2980:
2978:
2975:
2973:
2970:
2968:
2967:Giulio Clovio
2965:
2963:
2960:
2958:
2955:
2953:
2950:
2948:
2945:
2943:
2940:
2938:
2935:
2934:
2932:
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2391:0-947645-22-5
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2357:public domain
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2310:Hope, Charles
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2297:0-521-56568-5
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2057:on 2009-07-02
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2035:0-947645-22-5
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2010:
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2002:0-300-11677-2
1999:
1995:
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1948:on 2007-02-09
1947:
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1942:"The Tempest"
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1548:Divine Comedy
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397:Carlo Ridolfi
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50:, perhaps as
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19:
3244:1470s births
3174:
3165:Leonardeschi
3130:
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2906:Michelangelo
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2568:(Giorgione).
2519:
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2495:
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2484:
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2454:
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2438:
2418:
2395:
2382:
2379:Gould, Cecil
2369:
2328:. Retrieved
2323:
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2127:
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2107:
2099:
2091:
2075:
2070:
2059:. Retrieved
2055:the original
2050:
2041:
2022:
2014:
2009:
1993:
1988:
1977:. Retrieved
1973:
1950:. Retrieved
1946:the original
1936:
1928:
1923:
1915:
1910:
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1843:
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1800:
1794:
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1768:
1761:
1750:
1738:. Retrieved
1734:
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1703:
1691:. Retrieved
1687:
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1666:. Retrieved
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1235:
1220:
1209:
1199:) (c. 1508)
1196:
1192:
1186:
1168:
1156:
1150:
1132:
1110:
1099:
1081:
1066:
1058:
1042:Charles Hope
1039:
1033:
1025:
1022:
1018:
1010:Samuel Kress
1001:
997:
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824:
821:Philosophers
820:
814:
810:
806:
802:
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795:
791:
771:
763:Attributions
757:
748:
744:
733:
722:
715:Plato's cave
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707:
698:
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680:
679:
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650:
639:
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605:
569:
567:
551:
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517:
501:Giorgionismo
500:
473:
461:
453:
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405:
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388:
384:
374:
368:
361:-led style.
344:
325:; Venetian:
198:
186:
185:
161:
155:
149:
143:
139:Notable work
3249:1510 deaths
3218:Visual arts
3135:(1536–1541)
3127:(1516–1520)
3119:(1509–1524)
3113:(1508–1512)
3107:(1506–1513)
3086:(1501–1504)
3072:(1498–1499)
3046:Major works
2834:(c. 1509) (
2796:(c. 1510) (
2729:The Tempest
2701:(c. 1505) (
2649:(c. 1502) (
2330:28 November
2273:Art Journal
2047:"EB online"
2027:Cecil Gould
1693:24 February
1431:The Berlin
1417:Il Tramonto
1188:The Tempest
1159:); c. 1505
1006:Lord Duveen
983:Holy Family
947:Il Tramonto
799:The Tempest
703:radiography
699:The Tempest
695:The Tempest
682:The Tempest
668:(c. 1508),
665:The Tempest
654:Netherlands
593:chiaroscuro
556:(c. 1510),
476:altarpieces
415:condottiere
338:during the
145:The Tempest
110:Nationality
3228:Categories
2430:, Vienna).
2342:References
2061:2013-05-27
1979:2013-05-27
1952:2013-05-27
1717:Bruce Cole
1668:2019-02-24
1402:La Vecchia
1368:, (1506?)
1295:(c. 1510)
1286:, Dresden
1280:(c. 1510)
1269:(c. 1509)
1240:(1508–10)
1214:(c. 1508)
1173:(c. 1506)
1145:Washington
1115:(c. 1504)
961:c. 1505 –
867:, c. 1509.
719:Three Magi
576:altarpiece
528:quarantine
493:il Cariani
3176:The Lives
3091:Mona Lisa
3027:Tamagnino
3022:Il Sodoma
2901:Giorgione
2677:(c. 1504)
2610:Paintings
2603:Giorgione
2366:Giorgione
2364:(1911). "
1769:Giorgione
1591:San Diego
1473:, damaged
985:, and an
687:landscape
644:from the
564:, Germany
450:, Austria
389:Giorgione
199:Giorgione
120:Education
34:Giorgione
3206:Painting
2798:disputed
2778:disputed
2766:disputed
2754:disputed
2742:disputed
2651:disputed
2631:disputed
2536:Archived
2326:(10): 22
2271:See the
2240:Archived
2222:Archived
1872:Archived
1861:Archived
1372:, Vienna
1353:, London
1351:predella
1260:, Vienna
1205:, Venice
1094:Florence
990:predella
740:portrait
524:Poveglia
442:(1506),
413:and the
318:Italian:
191:Venetian
170:Movement
133:Painting
3192:Portals
3143:Related
2911:Raphael
2547:at the
2472:Bellini
2359::
1788:. 1894.
1599:at the
1596:Tempest
1492:1510 –
1333:Gallery
1254:(1509)
1231:, Paris
1030:Raphael
933:Concert
921:Concert
911:in the
833:Tempest
751:now in
717:or the
676:, Italy
614:Dresden
612:now in
597:sfumato
595:called
584:Madonna
562:Dresden
359:disegno
3078:(1500)
2916:Titian
2838:Titian
2823:Titian
2716:(1506)
2705:Titian
2674:Judith
2623:Titian
2524:, 2016
2406:, 2000
2402:
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2166:Titian
2139:
2133:Titian
2119:
2113:Titian
2082:
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2000:
1902:865045
1900:
1831:
1740:23 May
1641:
1490:Titian
1386:Judith
1301:, Rome
1229:Louvre
1181:Vienna
1112:Judith
1090:Uffizi
1049:Legacy
1026:Judith
943:prints
888:Louvre
873:Vasari
865:Titian
861:Louvre
845:Uffizi
831:. The
813:, and
786:Titian
778:Vienna
753:Berlin
736:Titian
729:Louvre
674:Venice
641:Judith
520:plague
511:, and
481:Titian
464:Titian
448:Vienna
393:Zorzon
347:Titian
327:Zorzon
99:Venice
79:Veneto
3083:David
3069:Pietà
2713:Laura
2503:Arion
2260:Lists
2004:p. 42
1898:JSTOR
1606:Laura
1516:Notes
1034:Venus
913:Prado
841:Laura
825:Venus
745:Laura
630:Cupid
582:form—
574:, an
543:Works
439:Laura
385:Zorzo
259:-jee-
195:Zorzi
83:Italy
52:David
2625:and
2564:and
2400:ISBN
2387:ISBN
2332:2012
2293:ISBN
2204:ISBN
2137:ISBN
2117:ISBN
2080:ISBN
2031:ISBN
1998:ISBN
1829:ISBN
1742:2021
1695:2019
1639:ISBN
1437:(or
1057:The
973:(or
903:The
896:(or
877:Vite
408:Doge
391:(or
365:Life
313:-nee
309:jor-
92:Died
59:Born
2629:) (
2368:".
1825:130
1195:) (
890:'s
578:in
373:'s
311:JOH
285:ɔːr
257:JOR
220:ɔːr
3230::
3096:c.
3059:c.
2437:,
2381:,
2324:34
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282:dʒ
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270:US
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261:OH
241:,-
238:eɪ
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217:dʒ
207::
205:UK
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201:(
189:(
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176:(
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