ЗападноеврЗападноевропейское искусство от Джотто до Рембрандта

The Raising of the Widow's Son in Nian, around 1565/70, was painted by… Veronese when his colour achieved… clarity and brilliance hitherto unknown in… Venice. He uses… sky and architecture as… cool foil for… jewel-like colour of… clothing. It gives… worldly, festive atmosphere to… New Testament story of how Christ raised… young man from… dead. Veronese has put… figure of… grateful mother into… centre of… picture and… young man who has been raised from… dead is only just visible in… lower left-hand corner… picture is thought as if it were… quotation from… play with… figures and architecture scattered around. In this way Veronese draws… observers into… action and, as so often in… Mannerist art, mixes… levels of reality.

VIII. Translate the text into English.

Тициан Вечелло – величайший художник венецианского Возрождения – создал произведения на мифологические и христианские сюжеты. Тициан оставил после себя богатейшее творческое наследие. Оно оказало огромное влияние на художников последующих веков.

Слава рано пришла к Тициану. Уже в 1516 г. он стал первым живописцем Венецианской республики. Около 1520 г. герцог Феррарский заказал Тициану цикл картин на мифологические сюжеты. Богатые венецианцы заказывали Тициану алтарные образа. Тициан создал монументальные композиции: «Вознесение Марии» и «Мадонна Пезаро». Громадная картина «Вознесение Марии» изображает вознесение Мадонны на небо. Насыщенные цвета одежды Марии на фоне светлого неба передают радость.

Много сил Тициан отдавал портретной живописи. В «Венере» Тициана многие видят портрет Элеоноры Урбинской. Введение бытовой сцены в интерьер картины вместо пейзажного фона передает ощущение реальной жизни. Блестящий портретист, Тициан раскрывал черты характера своих моделей. Групповой портрет впервые созданный Тицианом получил свое развитие только в эпоху барокко.

IX. Summarize the text.

X. Topics for discussion:

1. Titian's mythological paintings.

2. Titian's religious paintings.

3. Titian's portraits.

Unit IX The Carracci

The pioneers of Baroque monumental painting in Rome were the brothers Agosto and Annibale Carracci and their cousin Ludovico. They all came from Bologna, a city with a long artistic tradition, a heritage of Renaissance masterpieces and a direct cultural connection with the Eternal City. Between 1585 and 1590 the Carracci founded the Academy of the Incamminati, which was to play an important part in the Italian artistic culture of the seventeenth century.

Annibale (1560-1609) was historically the most significant artist of the Carracci family and artistically the most gifted. At first he was fond of Correggio and Veronese, but later he developed new power under the influence of the antique, and of Michelangelo and Raphael, Annibale Carracci presents a variety of motives and themes. To the exhausted schemes of Mannerism he opposed a combination of classical beauty and the respect for the real fact.

In Bologna in the 1580s all three Carracci had been helpful in the formation of a new kind of Renaissance – not a revival of Classical antiquity nor a discovery of the world and of man, but a revival of the Renaissance itself after a long Mannerist interlude. The Carracci aimed at a synthesis of the vigour and majesty of Michelangelo, the harmony and grace of Raphael, and the colour of Titian.

The first major undertaking of Baroque painting in Rome was the gallery of the Palazzo Fornese, painted almost entirely by Annibale CarraccI. The frescoes were commissioned by Cardinal Odoardo Farnese. The ceiling frescoes adopted from the Sistine Ceiling such ideas as large scenes, small scenes, seated nudes, simulated marble architecture and both marble and bronze sculpture. But these were organised according to a new principle in the illusionistic tradition of Mantegna. The simulated architecture applied to the barrel vault is «supported» by the simulated sculptural caryatids and youths that flank pictures into the structure. Four additional paintings with gilded frames are made to look as if they had been applied later. The complex layer of forms and illusions comes to a climax in the central scene.