Italian
For example, in Giorgione one can notice the broken lines and the empty eyes, not drawn, as in the clipei (medallions) of the frieze, while very little is known about Giorgione’s biography, even though he was already famous during his lifetime.
And think that his date of birth was derived from a code in the Divine Comedy that is located in Sydney. The last highlight of Gianluca Poldi’s presentation showed us what one of the last tools represented by Giorgione in his frieze was used for, which was to support the arm while painting.
In both reports, there were a series of revelations that certainly satisfied the audience in search of interesting and stimulating cultural themes.
With a series of studies on the painting, using the various tools that experts have, Maria Agnese Chiari Moretto Wiel pointed out all the uncertainties of the author and the parts of the painting that have been changed, as well as the added details and their meaning.
In Castelfranco on June 22 at 6:30 PM at the Casa del Giogione, the discussion continued about the tools available to experts for studying a work of art and the various scenarios that can arise from the discoveries revealed. This time, the expert in question was Gianluca Poldi, who, through non-invasive analyses and the research of underlying painting techniques in a work, considered the frieze by Giorgione, present in the museum dedicated to him.
The expert emphasized how this is an alternative way to study a work, compared to the sources and scholars of Art History. With reflectography and radiography, he studied this frieze, which is a large drawing that depicted the Giorgionesque world, which also included Lotto and the Bishop of Treviso, Bernardo De Rossi, along with his cultural circle.
In the frieze, one can also notice those astronomical instruments that allowed great scholars like Galileo and Newton to create horoscopes, as well as experts in Astrology. Ultimately, he wants to describe the mechanical arts but not with a classificatory purpose.
And next to each section there is a writing, except in the last space which is empty, because it represents a future yet to be written.
The expert then began to describe a series of underdrawing analyses (of the underlying design) of both Giorgione’s and Bellini’s works, to understand how the meticulous analysis of many works allows for the identification of consistencies in the authors’ styles.
For example, in Giorgione one can notice the broken lines and the empty eyes, not drawn, as in the clipei (medallions) of the frieze, while very little is known about Giorgione’s biography, even though he was already famous during his lifetime.
And think that his date of birth was derived from a code in the Divine Comedy that is located in Sydney. The last highlight of Gianluca Poldi’s presentation showed us what one of the last tools represented by Giorgione in his frieze was used for, which was to support the arm while painting.
In both reports, there were a series of revelations that certainly satisfied the audience in search of interesting and stimulating cultural themes.
A private individual intervened, a certain Melio from Cortona, a legal expert, who had been hired by the school for a dispute with the Friars of Frari, and because of this, there was an ongoing litigation between him and the institution of San Rocco. Despite this, he decides to leave this painting to the school, provided it is placed in the hall of the inn, where the confreres gathered.
This, however, is not a compensation. He wishes for his house in San Rocco to be given to his nephew. If this does not happen, he will leave the painting at the cemetery of San Michele.
The painting is eventually accepted and placed above the arch of the staircase, becoming a model for many painters of the time: Andrea Schiavone, Van Dyck, but also for later periods such as John Ruskin.
But its re-evaluation takes place in 1990, with the monographic exhibition on Tiziana at Palazzo Ducale, where the painting is recognized as autographed, despite uncertainties remaining about the dating.
What is certain is the tear on the mantle of the Madonna, upon the return of all the artworks to the Uffizi during the war, which is restored with a gauze.
Finally, in 2014, the work was relocated to where it was originally intended.
With a series of studies on the painting, using the various tools that experts have, Maria Agnese Chiari Moretto Wiel pointed out all the uncertainties of the author and the parts of the painting that have been changed, as well as the added details and their meaning.
In Castelfranco on June 22 at 6:30 PM at the Casa del Giogione, the discussion continued about the tools available to experts for studying a work of art and the various scenarios that can arise from the discoveries revealed. This time, the expert in question was Gianluca Poldi, who, through non-invasive analyses and the research of underlying painting techniques in a work, considered the frieze by Giorgione, present in the museum dedicated to him.
The expert emphasized how this is an alternative way to study a work, compared to the sources and scholars of Art History. With reflectography and radiography, he studied this frieze, which is a large drawing that depicted the Giorgionesque world, which also included Lotto and the Bishop of Treviso, Bernardo De Rossi, along with his cultural circle.
In the frieze, one can also notice those astronomical instruments that allowed great scholars like Galileo and Newton to create horoscopes, as well as experts in Astrology. Ultimately, he wants to describe the mechanical arts but not with a classificatory purpose.
And next to each section there is a writing, except in the last space which is empty, because it represents a future yet to be written.
The expert then began to describe a series of underdrawing analyses (of the underlying design) of both Giorgione’s and Bellini’s works, to understand how the meticulous analysis of many works allows for the identification of consistencies in the authors’ styles.
For example, in Giorgione one can notice the broken lines and the empty eyes, not drawn, as in the clipei (medallions) of the frieze, while very little is known about Giorgione’s biography, even though he was already famous during his lifetime.
And think that his date of birth was derived from a code in the Divine Comedy that is located in Sydney. The last highlight of Gianluca Poldi’s presentation showed us what one of the last tools represented by Giorgione in his frieze was used for, which was to support the arm while painting.
In both reports, there were a series of revelations that certainly satisfied the audience in search of interesting and stimulating cultural themes.
Two highlight events of the exhibition dedicated to Titian
Since 2005, the Tiziano Foundation has been organizing a series of events from Cadore to Belluno, then in Treviso, and this year also in Padua and Venice.
As highlighted by Maria Giovanna Coletti, president of the foundation, this proposal has addressed the people’s need to come together around cultural themes.
This year’s initiative to visit historic residences such as the Collalto Castle stems from the idea of being “guests” of the owners and not just visitors, allowing us to enjoy the landscapes surrounding their estates just like they do.
From July 18, the exhibition on Titian and the landscape opens in Pieve di Cadore, with the reopening of his birthplace on the occasion of the 450th anniversary of his death, which brings back the theme of landscape as knowledge and a reflection on the need to promote slow tourism to fully appreciate the beauties that surround us.
On June 18, there was the last meeting of the “Art Stories” series promoted by Open Churches for the ongoing training of its volunteers, but also open to the public, which also marked the beginning of the Titian summer.
This is the presentation given by Maria Agnese Chiari Moretto Wiel, a professor of Venetian Art History at the Venetian campus of Wake Forest University (Winston Salem, N.C.). Her research interests focus on Venetian painting and graphics of the sixteenth century and the Venetian Schools, particularly the Scuola Grande di San Rocco and its church, with numerous publications. The title of the talk was “Two Annunciations, one master: Titian between Treviso and Venice.”
The speaker began her conference by telling us about her education and how she came to study Titian at the Scuola di San Rocco, one of the oldest Venetian institutions, not suppressed by Napoleon, and whose mariegola, or statute, dates back to 1478.
The first painting of the school is the Annunciation by Titian. He was a confrere of the institution and hoped that this condition would favor him to work on it from within.
But Tintoretto had already started working in the Church of San Rocco and he was giving him fierce competition. He offered to make a painting, but it was too expensive.
A private individual intervened, a certain Melio from Cortona, a legal expert, who had been hired by the school for a dispute with the Friars of Frari, and because of this, there was an ongoing litigation between him and the institution of San Rocco. Despite this, he decides to leave this painting to the school, provided it is placed in the hall of the inn, where the confreres gathered.
This, however, is not a compensation. He wishes for his house in San Rocco to be given to his nephew. If this does not happen, he will leave the painting at the cemetery of San Michele.
The painting is eventually accepted and placed above the arch of the staircase, becoming a model for many painters of the time: Andrea Schiavone, Van Dyck, but also for later periods such as John Ruskin.
But its re-evaluation takes place in 1990, with the monographic exhibition on Tiziana at Palazzo Ducale, where the painting is recognized as autographed, despite uncertainties remaining about the dating.
What is certain is the tear on the mantle of the Madonna, upon the return of all the artworks to the Uffizi during the war, which is restored with a gauze.
Finally, in 2014, the work was relocated to where it was originally intended.
With a series of studies on the painting, using the various tools that experts have, Maria Agnese Chiari Moretto Wiel pointed out all the uncertainties of the author and the parts of the painting that have been changed, as well as the added details and their meaning.
In Castelfranco on June 22 at 6:30 PM at the Casa del Giogione, the discussion continued about the tools available to experts for studying a work of art and the various scenarios that can arise from the discoveries revealed. This time, the expert in question was Gianluca Poldi, who, through non-invasive analyses and the research of underlying painting techniques in a work, considered the frieze by Giorgione, present in the museum dedicated to him.
The expert emphasized how this is an alternative way to study a work, compared to the sources and scholars of Art History. With reflectography and radiography, he studied this frieze, which is a large drawing that depicted the Giorgionesque world, which also included Lotto and the Bishop of Treviso, Bernardo De Rossi, along with his cultural circle.
In the frieze, one can also notice those astronomical instruments that allowed great scholars like Galileo and Newton to create horoscopes, as well as experts in Astrology. Ultimately, he wants to describe the mechanical arts but not with a classificatory purpose.
And next to each section there is a writing, except in the last space which is empty, because it represents a future yet to be written.
The expert then began to describe a series of underdrawing analyses (of the underlying design) of both Giorgione’s and Bellini’s works, to understand how the meticulous analysis of many works allows for the identification of consistencies in the authors’ styles.
For example, in Giorgione one can notice the broken lines and the empty eyes, not drawn, as in the clipei (medallions) of the frieze, while very little is known about Giorgione’s biography, even though he was already famous during his lifetime.
And think that his date of birth was derived from a code in the Divine Comedy that is located in Sydney. The last highlight of Gianluca Poldi’s presentation showed us what one of the last tools represented by Giorgione in his frieze was used for, which was to support the arm while painting.
In both reports, there were a series of revelations that certainly satisfied the audience in search of interesting and stimulating cultural themes.
