Hang Around the World: Painting #112

Italian Renaissance :

The High Renaissance - Part 3/3

Titian

(1490–1576, Italian)

Self-Portrait
- Titian
- oil on canvas (86 x 65 cm) c.1562
- Museo del Prado (Madrid)

Christ and Mary Magdalene
aka Noli me tangere / Touch Me Not
- Titian
- oil on canvas (109 x 91 cm) c.1512
- National Gallery (London)

“According to Maurice Zundel (1897–1975), in asking Mary Magdalene not to touch him, Jesus indicates that once the resurrection is accomplished, the link between human beings and his person must no longer be physical, but must be a bond of heart to heart. ”

Portrait of Ranuccio Farnese
- Titian
- oil on canvas (90 x 74 cm) 1542
- National Gallery of Art (Washington, D.C.)

Ranuccio Farnese (1530-1545-1565, Italian prelate), the grandson of Pope Paul III, was 12 years old when Titian painted his portrait.

Venus and Adonis
- Titian
- oil on canvas (107 x 136 cm) c.1560
- National Gallery of Art (Washington, D.C.)

Tintoretto

(1518–1594, Italian, Venetian school)

Self-Portrait
- Tintoretto
- oil on canvas (62.5 x 52 cm) c.1588
- Louvre Museum (Paris)

Student of Titian.

The Conversion of Saul
- Tintoretto
- oil on canvas (152 x 236 cm) c.1545
- National Gallery of Art (Washington, D.C.)

Christ at the Sea of Galilee
- Tintoretto
- oil on canvas (117 × 169 cm) 1570s
- National Gallery of Art (Washington D.C.)

“The painting depicts Jesus Christ raises a hand toward the apostles, who appear in a boat amid hostile waves at sea. It is an example of mannerism, a European art style that exaggerates proportion and favors compositional tension. This can be seen in the expressive postures of the figures and the muted, yet intense color of the sea and sky.”
“Mannerism, also known as Late Renaissance, is a style in European art that emerged in the later years of the Italian High Renaissance around 1520, spreading by about 1530 and lasting until about the end of the 16th century in Italy, when the Baroque style largely replaced it. ”

Summer
- Tintoretto
- oil on canvas (106 x 193 cm) c.1555
- National Gallery of Art (Washington, D.C.)

Susanna and the Elders
- Tintoretto
- oil on canvas (146 × 194 cm) 1555-56
- Kunsthistorisches Museum (Vienna)

Il Paradiso / Paradise
- Tintoretto
- oil on canvas (910 x 2260 cm) after 1588
- Palazzo Ducale (Venice)

Doge's Palace (Palazzo Ducale)
and the Campanile of
St. Mark 's Basilica (Venice)

Last Supper
- Tintoretto
- oil on canvas (365 × 568 cm) 1592-1594
- Basilica di San Giorgio Maggiore (Venice)

This painting departs drastically from Leonardo's frontal composition. The table at which the apostles sit recedes into space on a steep diagonal. The centre of the scene is occupied not by the apostles but instead by secondary characters (such as waitress and busboys).

The Church of San Giorgio Maggiore
- Andrea Palladio (1508-1580, Italian) 1566-1610
- Venice

San Giorgio Maggiore at Dusk
- Claude Monet (1840–1926, French)
- oil on canvas (65 x 92 cm) 1908
- National Museum (Wales)

Paolo Veronese

(Paolo Caliari, 1528–1588, Italian)

Saint Lucia and the donator
- Paolo Veronese
- oil on canvas (181 × 115 cm) 1585
- National Gallery of Art (Washington, D.C.)

The Finding of Moses
(Moses saved from the waters)
- Paolo Veronese
- oil on canvas (57 x 43 cm) c.1575
- Museo del Prado (Madrid)

Moses saved from the waters

The Wedding Feast at Cana
- Paolo Veronese
- oil on canvas (677 × 994 cm) 1563
- Louvre Museum (Paris)

“A representational painting that depicts the biblical story of the Marriage at Cana, at which Jesus converts water to wine (John 2:1–11).”

Jesus and Madonna sat by the middle of the dining table.

Painted in as musicians were great Venetian painters of the time, including Veronese himself in white at the middle, Tintoretto in green behind him, and Titian in red. Jesus sits in the back bench, among villagers.

This is one of the paintings that Napoleon took from Italy to Louvre. After his defeat, this large painting (7m by 10m) was allowed to stay in Louvre, to avoid possible damages from transportation.