Flora, Laura, and Others: The Allegorized Pictures of Beautiful Women in Early Cinquecento Venetian Art
DOI:
https://doi.org/10.21638/spbu15.2019.208Abstract
This article explores the study of pictures of beautiful women, so-called “bella” paintings that were a significant phenomenon in the history of Venetian Renaissance art. The uniqueness of such research is that it investigates such pictures within the broad historical context, highlighting its historical evolution as well as specifying the meaning of some important art works. The genesis of such an artistic form returns to the beginning of High Renaissance art in Venice, which has its origins in the works of Tullio Lombardo and Giorgione. Their masterpieces, “Portrait of a young couple” by Tullio Lombardo and Giorgione’s picture “Laura,” made an important contribution to the invention of its compositional formula and content with its complexity of meaning and allegory. Building on the compositional type of the Renaissance portrait, it developed narrative components taken from classical and Renaissance literature. The next phase in the development of “bella” paintings is in the oeuvre of Titian. This painter created iconographic versions in this genre, which developed plots taken from Holy Scripture or connected with the Classical past. Titian’s artistic output greatly influenced many other painters, among them Palma il Vecchio, Paris Bordone, and Bernardino Licinio. Later in the century, Titian’s portraits of the Italian aristocracy made a cardinal impact on the evolution of “bella” paintings and invested them with new features of aristocratism and courtly elegance, but paradoxically it played the crucial role in the gradual disappearance of this type of painting from the stage toward the end of the sixteenth century.
Keywords:
Renaissance art, Venice, portrait, bella picture, Tullio Lombardo, Giorgione, Titian, Paolo Veronese
Downloads
Download data is not yet available.
References
Литература
1. Яйленко, Евгений. “‘Гроза’ Джорджоне. Произведение искусства в обстановке ренессансного studiolo”. Вестник Санкт-Петербургского университета. Искусствоведение 8, no. 2 (2018): 300–19.
2. Гращенков, Виктор. Портрет в итальянской живописи Раннего Возрождения. М.: Искусство, 1996.
3. Humfrey, Peter. “The Portrait in Fifteenth-Century Venice”. In The Renaissance Portrait. From Donatello to Bellini, edited by Keith Christiansen and Stefan Weppelmann, 48–63. New Haven; London: Yale University Press, 2011.
4. Luchs, Alison. Tullio Lombardo and Venetian High Renaissance Sculpture. New Haven; London: Yale University Press, 2009.
5. Головин, Виктор. Скульптура и живопись итальянского Возрождения: влияния и взаимосвязь. М.: Издательство МГУ, 1985.
6. Wilk, Sarah Blake. The Sculpture of Tullio Lombardo. Studies in Sources and Meaning. New York: Garland, 1978.
7. King, Margaret L. Women of the Renaissance. Chicago; London: University of Chicago Press, 1991.
8. Luchs, Alison. “Tullio Lombardo’s Ca’ d’Oro Relief: A Self-Portrait with Artist’s Wife”. The Art Bulletin 71, no. 2 (1989): 230–6.
9. Ceriana, Matteo, ed. Tullio Lombardo. Scultore e architetto nella Venezia del Rinascimento. Atti del Convegno di studi. Venezia: Cierri, 2007.
10. Koos, Marianne. “Amore dolce-amaro. Giorgione und das ideale Knabenbildnis der venezianischen Renaissancemalerei”. In Marbürger Jahrbuch für Kunstwissenschaft 33 (2006): 113–74.
11. Royal Academy of Arts (Great Britain). The Genius of Venice. 1500-1600. Edited by Jane Martineau, and Charles Hope. New York: H. N. Abrams, 1984.
12. Anderson, Jaynie. Giorgione. The Painter of “Poetic Brevity”. Paris; New York: Flammarion, 1997.
13. Eller, Wolfgang L. Giorgione. Werkverzeichnis. Rätsel und Lösung. Petersberg: Imhof, 2007.
14. Bayer, Andrea Jane, ed. Metropolitan Museum of Art. Art and Love in Renaissance Italy. New Haven; London: Yale University Press, 2008.
15. Verheyen, Egon. “Der Sinngehalt von Giorgiones ‘Laura’”. Pantheon, no. 26 (1968): 220–7.
16. Dal Pozzolo, Enrico Maria. “Il lauro di Laura e delle maritate venetiane”. Mitteilungen des Kunsthistorischen Institutes in Florens 37, H. 2/3 (1993): 257–92.
17. Junkerman, Anne Christine. “The Lady and the Laurel: Gender and Meaning in Giorgione’s ‘Laura’”. Oxford Art Journal 16, no. 1 (1993): 49–58.
18. Brown, David Alan. Leonardo da Vinci. Origins of a Genius. New Haven; London: Yale University Press, 1998.
19. Маркова, Виктория, и Государственный музей изобразительных искусств имени А. С. Пушкина. Италия VIII–XVI веков. М.: Галарт, 2002, т. 1.
20. Петрарка, Франческо. Лирика. Автобиографическая проза. Сост. Николай Томашевский. М.: Правда, 1989.
21. Freccero, John. “The Fig Tree and the Laurel: Petrarch’s Poetics”. Diacritics 5, no. 1. (1975): 34–40.
22. Aikema, Bernard, and Beverly Louise Brown, eds. Renaissance Venice and the North. Crosscurrents in the Time of Dürer, Bellini and Titian. London: Thames and Hudson, 1999.
23. Freedman, Luba. “‘The Schiavona’: Titian’s Response to the Paragone Between Painting and Sculpture”. Arte Veneta 41 (1987): 31–40.
24. Mellencamp, Emma H. “A Note on the Costume of Titian’s ‘Flora’”. The Art Bulletin 51, no. 2 (1969): 174–7.
25. Шестаков, Вячеслав, сост. и пер. О любви и красотах женщин. Трактаты о любви эпохи Возрождения. М.: Республика, 1992.
26. Goffen, Rona. “Lotto’s ‘Lucretia’”. Renaissance Quarterly 52, no. 3 (1999): 742–81.
27. Humfrey, Peter. Titian. London: Phaidon, 2007.
28. Finzi, Alessandra, und Silvia Giacobone, eds. Il gioco dell’amore. Le cortigiane di Venezia. Dal Trecento al Settecento. Milano: Berenice, 1990.
29. De Vecchi, Pierluigi, Giandomenico Romanelli, and Claudio Strinati. Veronese. Gods, Heroes and Allegories. Milano: Skira, 2004.
30. Aliverti, Maria Ines. “An Icon for a New Woman: A Previously Unidentified Portrait of Isabella Andreini by Paolo Veronese”. Early Theatre 11, no. 2 (2008): 159–80.
References
1. Iailenko, Evgenii. “‘Groza’ Dzhordzhone. Proizvedenie iskusstva v obstanovke renessansnogo studiolo” [“‘Tempest’ by Giorgione. The Artwork in the Context of the Renaissance Studiolo.]. Vestnik Sankt-Peterburgskogo universiteta. Iskusstvovedenie [Vestnik of Saint Petersburg University. Arts] 8, no. 2 (2018): 300–19. (In Russian)
2. Grashchenkov, Viktor. Portret v ital’ianskoi zhivopisi Rannego Vozrozhdeniia. Moscow: Iskusstvo, 1996. (In Russian)
3. Humfrey, Peter. “The Portrait in Fifteenth-Century Venice”. In The Renaissance Portrait. From Donatello to Bellini, edited by Keith Christiansen and Stefan Weppelmann, 48–63. New Haven; London: Yale University Press, 2011.
4. Luchs, Alison. Tullio Lombardo and Venetian High Renaissance Sculpture. New Haven; London: Yale University Press, 2009.
5. Golovin, Viktor. Skul’ptura i zhivopis’ ital’ianskogo Vozrozhdeniia: vliianiia i vzaimosviaz’. Moscow: Izdatel’stvo MGU, 1985. (In Russian)
6. Wilk, Sarah Blake. The Sculpture of Tullio Lombardo. Studies in Sources and Meaning. New York: Garland, 1978.
7. King, Margaret L. Women of the Renaissance. Chicago; London: University of Chicago Press, 1991.
8. Luchs, Alison. “Tullio Lombardo’s Ca’ d’Oro Relief: A Self-Portrait with Artist’s Wife”. The Art Bulletin 71, no. 2 (1989): 230–6.
9. Ceriana, Matteo, ed. Tullio Lombardo. Scultore e architetto nella Venezia del Rinascimento. Atti del Convegno di studi. Venezia: Cierri, 2007.
10. Koos, Marianne. “Amore dolce-amaro. Giorgione und das ideale Knabenbildnis der venezianischen Renaissancemalerei”. In Marbürger Jahrbuch für Kunstwissenschaft 33 (2006): 113–74.
11. Royal Academy of Arts (Great Britain). The Genius of Venice. 1500-1600. Edited by Jane Martineau, and Charles Hope. New York: H. N. Abrams, 1984.
12. Anderson, Jaynie. Giorgione. The Painter of “Poetic Brevity”. Paris; New York: Flammarion, 1997.
13. Eller, Wolfgang L. Giorgione. Werkverzeichnis. Rätsel und Lösung. Petersberg: Imhof, 2007.
14. Bayer, Andrea Jane, ed. Metropolitan Museum of Art. Art and Love in Renaissance Italy. New Haven; London: Yale University Press, 2008.
15. Verheyen, Egon. “Der Sinngehalt von Giorgiones ‘Laura’”. Pantheon, no. 26 (1968): 220–7.
16. Dal Pozzolo, Enrico Maria. “Il lauro di Laura e delle maritate venetiane”. Mitteilungen des Kunsthistorischen Institutes in Florens 37, H. 2/3 (1993): 257–92.
17. Junkerman, Anne Christine. “The Lady and the Laurel: Gender and Meaning in Giorgione’s ‘Laura’”. Oxford Art Journal 16, no. 1 (1993): 49–58.
18. Brown, David Alan. Leonardo da Vinci. Origins of a Genius. New Haven; London: Yale University Press, 1998.
19. Markova, Viktoriia, and Gosudarstvennyi muzei izobrazitel’nykh iskusstv imeni A. S. Pushkina. Italiia VIII–XVI vekov [Italy VIII–XVI centuries]. Moscow: Galart, 2002, vol. 1. (In Russian)
20. Petrarka, Franchesko. Lirika. Avtobiograficheskaia proza. Compiled by Nikolai Tomashevskii. Moscow: Pravda, 1989. (In Russian)
21. Freccero, John. “The Fig Tree and the Laurel: Petrarch’s Poetics”. Diacritics 5, no. 1. (1975): 34–40.
22. Aikema, Bernard, and Beverly Louise Brown, eds. Renaissance Venice and the North. Crosscurrents in the Time of Dürer, Bellini and Titian. London: Thames and Hudson, 1999.
23. Freedman, Luba. “‘The Schiavona’: Titian’s Response to the Paragone Between Painting and Sculpture”. Arte Veneta 41 (1987): 31–40.
24. Mellencamp, Emma H. “A Note on the Costume of Titian’s ‘Flora’”. The Art Bulletin 51, no. 2 (1969): 174–7.
25. Shestakov, Viacheslav, comp. and transl. O liubvi i krasotakh zhenshchin. Traktaty o liubvi epokhi Vozrozhdeniia. Moscow: Respublika, 1992. (In Russian)
26. Goffen, Rona. “Lotto’s ‘Lucretia’”. Renaissance Quarterly 52, no. 3 (1999): 742–81.
27. Humfrey, Peter. Titian. London: Phaidon, 2007.
28. Finzi, Alessandra, und Silvia Giacobone, eds. Il gioco dell’amore. Le cortigiane di Venezia. Dal Trecento al Settecento. Milano: Berenice, 1990.
29. De Vecchi, Pierluigi, Giandomenico Romanelli, and Claudio Strinati. Veronese. Gods, Heroes and Allegories. Milano: Skira, 2004.
30. Aliverti, Maria Ines. “An Icon for a New Woman: A Previously Unidentified Portrait of Isabella Andreini by Paolo Veronese”. Early Theatre 11, no. 2 (2008): 159–80.
Downloads
Published
2019-05-30
How to Cite
Yaylenko, E. V. . (2019). Flora, Laura, and Others: The Allegorized Pictures of Beautiful Women in Early Cinquecento Venetian Art. Vestnik of Saint Petersburg University. Arts, 9(2), 371–396. https://doi.org/10.21638/spbu15.2019.208
Issue
Section
Visual arts
License
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.
