“Tempest” by Giorgione. The artwork in the context of the Renaissance studiolo
DOI:
https://doi.org/10.21638/11701/spbu15.2018.208Abstract
The main topic of this article is a study of a cultural context, shaping the basic principles of the artistic invention in the painting by Giorgione, known as a “Tempest”. Never taking into account the precise meaning of this picture, the author investigates the relationship between its main topic and practice of collecting the works of art in the Renaissance Venice. The first owner of the picture, Venetian nobleman Gabriele Vendramin, could have been seeing in it a sort of a projection of his own inner world, which reflects in its esthetical content. His interest in collecting the works of the Northern Renaissance Painting determinates the priority of landscape in the formal structure of the “Tempest” with its idyllic mode, which was in its own turn greatly influenced by the early Cinquecento interest in Arcadian poetry, basically Jacopo Sannazzaro’s pastoral novel “Arcadia”.
Keywords:
Venice, Renaissance, easel painting, Tempest, Giorgione, collection, Gabriele Vendramin
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References
Литература
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22. Sansovino, Francesco. Venezia, città nobilissima et singolare. Venezia: S. Curti, 1663.
23. Ludvig Georg, Wilhelm Bode von, Georg Gronau und Detlev Baron von Hadeln. Archivalische Beiträge zur Geschichte der venezianischen Kunst: aus dem Nachlass Gustav Ludwigs. Berlin: B. Cassirer, 1911.
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27. Campbell, Stephen John. “Giorgione’s ‘Tempest’, ‘Studiolo’ Culture and the Renaissance Lucretius”. Renaissance Quarterly, no. 56 (2003): 299–332.
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References
1. Settis, Salvatore. La “Tempesta” interpretata. Giorgione, i commitenti, il soggetto. Torino: G. Einaudi, 1978.
2. Anderson, Jaynie. Giorgione. The Painter of “Poetic Brevity”. Paris; New York: Flammarion, 1997.
3. Paoli, Marco. La “Tempesta” svelata. Giorgione, Gabriele Vendramin, Cristoforo Marcello e la “Vecchia”. Lucca: M. Pacini Fazzi, 2011.
4. Büttner, Frank. “Die Geburt des Reichtums und der Neid der Götter”. Münchner Jahrbuch der bildenden Kunst, no. 37 (1986): 113–30.
5. Rapp, Jürgen. “‘Die Favola’ in Giorgione’s ‘Gewitter’”. Pantheon, no. 56 (1988): 44–74.
6. Kilpatrick, Ross Stuart. “Hagar and the Angel in Giorgione’s ‘Tempest’”. Artibus et historiae, no. 36 (1997): 81–6.
7. Motzkin, Elhanan. “Giorgione’s ‘Tempesta’”. Gazette des Beaux-Arts, no. 122 (1993): 163–74.
8. Ferriguto, Arnaldo. Attraverso i “misteri” di Giorgione. Castelfranco Veneto: Arti Grafiche A. Trevisan, 1933.
9. Wind, Edgar. Giorgione’s “Tempesta”. With Comments on Giorgione’s Poetic Allegories. Oxford: Clarendon Press, 1969.
10. Eisler, Colin. “La ‘Tempesta’ di Giorgione: il primo ‘capriccio’ della pittura veneziana”. Arte Veneta, no. 59 (2002): 84–97.
11. Gilbert, Creighton. “On Subject and Non-Subject in Italian Renaissance Pictures”. The Art Bulletin, no. 34 (1952): 202–16.
12. Einem, Herbert von. “Giorgione. Der Maler als Dichter”. In Abhandlungen der Geistes- und Sozialwissenschaftlichen Klasse. Akademie der Wissenschaften und der Literatur. Klasse 2, 12–6. Mainz: Verlag der Akademie der Wissenschaften und der Literatur, 1972.
13. Howard, Deborah. “Giorgione’s ‘Tempesta’ and Titian’s ‘Assunta’ in the Context of the Cambrai Wars”. Art History 8, no. 3 (1985): 271–89.
14. Kaplan, Paul Henry Daniel. “The Storm of War: The Paduan Key to Giorgione’s ‘Tempesta’”. Art History 9, no. 4 (1986): 405–27.
15. Boscardin, Antonio. “Padova nella ‘Tempesta’”. Arte Veneta, no. 62 (2005): 87–98.
16. Banzato, Davide, Franca Pellegrini and Ugo Soragni, ed. Giorgione a Padova. L’enigma del carro. Milano: Skira, 2010.
17. Soragni, Ugo. “Giorgione a Padova (1493–1506)”. In Giorgione a Padova. L’enigma del carro, a cura di Davide Banzato, Franca Pellegrini and Ugo Soragni, 19–48. Milano: Skira, 2010.
18. Frimmel, Theodor, Hrsg. Der Anonimo Morelliano (Marcanton Michiel’s “Notizia D’opere del disegno”). Wien: Verlag von Carl Graeser, 1896.
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21. Muraro, Michelangelo. “The Political Interpretation of Giorgione’s Frescoes on the Fondaco dei Tedeschi”. Gazette des Beaux-Arts, no. 117 (1975): 177–84.
22. Sansovino, Francesco. Venezia, città nobilissima et singolare. Venezia: S. Curti, 1663.
23. Ludvig Georg, Wilhelm Bode von, Georg Gronau und Detlev Baron von Hadeln. Archivalische Beiträge zur Geschichte der venezianischen Kunst: aus dem Nachlass Gustav Ludwigs. Berlin: B. Cassirer, 1911.
24. Beltramini, Guido, Davide Gasparotto and Giulio Manieri Elia. Aldo Manuzio. Renaissance in Venice. Venice: Marsilio, 2016.
25. Thornton, Peter. Italian Renaissance Interior. 1400–1600. London: Harry N. Abrams Inc., 1991.
26. Favaretto, Irene. Arte antica e cultura antiquaria nelle collezione venete al tempo della Serenissima. Roma: “L’Erma” di Bretschneider, 1990.
27. Campbell, Stephen John. “Giorgione’s ‘Tempest’, ‘Studiolo’ Culture and the Renaissance Lucretius”. Renaissance Quarterly, no. 56 (2003): 299–332.
28. Stefanik, Regina. “Of Founding Fathers and the Necessity of Place: Giorgione’s ‘Tempesta’”. Artibus et historiae, no. 58 (2008): 121–56.
29. Lettieri, Dan. “Landscape and Lyricism in Giorgione’s ‘Tempesta’”. Artibus et historiae, no. 30 (1994): 55–70.
30. Iailenko, Evgenii. Venetsianskaia antichnost’. Moscow: Novoe literaturnoe obozrenie, 2010. (In Russian)
31. Sanazzaro, Jacopo. Arcadia. Milano: Società Tip. De’Classici Italiani, 1827.
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Published
2018-06-08
How to Cite
Yaylenko, E. V. . (2018). “Tempest” by Giorgione. The artwork in the context of the Renaissance studiolo. Vestnik of Saint Petersburg University. Arts, 8(2), 300–319. https://doi.org/10.21638/11701/spbu15.2018.208
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Visual arts
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Articles of "Vestnik of Saint Petersburg University. Arts" are open access distributed under the terms of the License Agreement with Saint Petersburg State University, which permits to the authors unrestricted distribution and self-archiving free of charge.
