The Tempest And Giorgione Comparison

Comparison: The Tempest by Giorgione and
Pastoral Concert by Giorgione or Titian There is wide acceptance of the notion that in the decade after 1500, a new development within the realm of Venetian painting had been the humanist approach. This means that from the classical depiction of art, it evolved into a more realistic approach where there is emphasis on different aspects as compared to the past. The period of Renaissance gave rise to many remarkable works that remain influential up to the present. Moreover, Renaissance artists are known for translating “Gospel themes and spiritual messages of medieval art through the warmth, passion and physical detail of humanism.” Because of this, artists expressed themselves through personal allegories

In The Tempest, Giorgione shows a child suckling from a female figure, who scholars have been arguing as either a nymph or a gypsy, covered only by a white sheet around her shoulders. She is otherwise naked except for the sheet, part of which is used to cover the ground where she sits. At the left side of the painting is an English schoolboy who appears to have handed the child to the female figure. Alternatively, the young man could only be watching the breastfeeding woman who may be the mother of his own child. These two figures are presented with the city of Troy serving as backdrop. A prominent flash of lightning streaks across the city seemingly to be followed by a loud crash of thunder, which conveys the universal message of impending danger. It is noteworthy that in this artwork, the landscape is the dominant and therefore more compelling element, regardless of what allegorical message the painting might contain. The landscape dominates the canvas while the human figures are placed at the sides. Therefore, The Tempest may be interpreted as a warning of impending peril to people represented by the English boy and the

Much larger than The Tempest at 110 x 138 cm, Pastoral Concert was initially believed to have been created by Giorgione but then later attributed to a young Titian, painted sometime in 1509. There are different versions about the relationship between Giorgione and Titian, although there is general agreement that they were two of the most important artists who emerged from the Renaissance period. Titian has been described as a collaborator to Giorgione. However, among art historians and scholars, there is the more prominent view that Titian is the protégé while Giorgione is the master. Moreover, Titian has been described as “just a ghost-like after-image barely perceptible in the wake of Giorgione – an adolescent boy who is always there following the great Zorzon around.” Titian has been described as Giorgione’s surrogate grandson, to “younger brother…spiritual disciple, [Giorgione’s] shadow.” Because of these, Titian is said to have so completely embraced Giorgione’s artistic methods to the extent that their paintings have been confusedly attributed to the other even during the times when Giorgione was still