The 16th century Venetian painting triumph celebrates the Thyssen-Bornemisza Museum in Madrid

The magnificent "star parade" presented the Thyssen-Bornemisza Museum in Madrid to visitors. The exhibition "Renaissance in Venice. The triumph of beauty and the collapse of painting ”gathered almost one hundred masterpieces of such masters of the XVI century as Titian Vecellio, Jacopo Tintoretto, Paolo Veronese and Lorenzo Lotto. In the center of the exhibition are portraits, pastorals, mythological and religious subjects that tell about the evolution of painting in one of the most beautiful cities in the world.The essence of the art of the Venetians can be felt through a careful selection of images, rather than a chronological or stylistic approach to the arrangement of paintings.Mercury and Minerva arm PerseusParis BordoneMiddle of the XVI century, 103.5 × 154 cm

Venetian painters used light and shadow and color as the basis for the depiction of figures and space, paid more attention to nature than the classical tradition prescribed, and brought more idealism into their concepts. Thus, they, along with masters from Rome, Parma and Florence - and sometimes surpassing them - sought to embody the Renaissance idea of ​​beauty. The canvases, engravings, sculptures and books presented in the halls of the Thyssen-Bornemisza Museum are collected from leading galleries in Italy, Austria, Russia, France and the UK, as well as private collections.
Left: The “face” of the exhibition was chosen by curators from the work of Giacomo Palma the Elder “Portrait of a Girl, or Beauty” (1520) from the own collection of the Thyssen-Bornemisza Museum

Changes in the political, economic, and commercial geography of Europe in the second half of the 15th and early 16th centuries threatened to push the Brightest Republic of Venice to the sidelines. However, it was then that an artistic awakening began (especially in painting and architecture), which put the city at the center of a controversy that began in Italy and spread throughout Europe from the late 1500s, and then throughout the 1600s.Pastoral Jacopo da Ponte Bassano1568, 99.5 × 137.5 cm Venice started to form its own idea of ​​beauty and became the main alternative to the aesthetic paradigms of Florence and Rome, where Raphael and Michelangelo worked. The classical or Tuscan-Roman approach gave greater importance to the intellectual aspect of the image (disegno, drawing) of what was previously conceived by the artist (idea). The masters of the Venetian school were more experienced in dealing with the color, visual and sensual aspects of the painting.
  • Titian Vecellio, "Penitent Mary Magdalene" (1565). State Hermitage, St. Petersburg
  • Paolo Veronese, Lucretia (1580s). Museum of Art History, Vienna
See also:
- Instead of a thousand books: what experts will tell about Titian, Veronese, Tintoretto and Venetian painting
- Titian and Venice: what you need to know about the city on the water to better understand TitianThe exhibition "Renaissance in Venice" is divided into eight thematic sections. Under the “collapse of painting” in the second part of the title, the curators meant that classicismClassicism firmly established itself in European art of the 17th century, having surrendered its positions only in the first third of the next century. Classicists worshiped antiquity, piously believed in the idea of ​​the order and logic of the universe, as well as in the limitless possibilities of the human mind. Read further in Venice - like in other regions of Italy - did not remain in fashion for long. In the later works, Titian, Tintoretto, Veronese and Bassano used more “open”, free strokes - they are often called stains. This not only questioned the value of disegno as one of the most important components of painting, but also the very Renaissance idea of ​​beauty, based on the idealization of reality. The next step was the strengthening of the dramatic elements of the image, giving the paintings greater expressiveness characteristic of Baroque. The Baroque style that changed the Renaissance, unlike the Renaissance art, which maintained the distance between the work and the audience, sought to shake the soul. Of course, successfully: the picturesque pearls of those times are true treasures. Read on.Portrait of Doge Giovanni MocenigoDentile Bellini1478, 63 × 46 cmPortrait of a young man (Antonio Broccardo) Giorgione1510, 72.5 × 54 cmMusiciansGiovanni Kariani1520, 108.5 × 84.7 cmPortrait of Francesco Maria della Rovere, Duke of Urbino Titian Vechelio 1536, 114 × 100.3 cm A significant part of the exhibition is devoted to portraits. In the halls of the museum there are images of representatives of the Venetian authorities (for example, “A Portrait of Doge Giovanni Mocenigo” by Gentile Bellini), melancholic young people (paintings by Giorgione, Bernardino Licinio, Giovanni Cariani and Lorenzo Lotto) and warriors, where artists skillfully solved the technical problem of displaying an elusive metal shine armor.Venus and AmurLambert Sustris1550, 132 × 184 cm. But the curators paid most attention to the Venetian images of women. The key works of Palma il Vecchio, Titian and Veronese develop the idea of ​​beauty in the genre of idealized female portraits. This also applies to mythological paintings depicting the ancient Roman goddess of love: "Venus and Cupid" by Lambert Sustris and "Venus and Adonis" by Veronese. The center of this section can be considered the magnificent "Abduction of Europe" brush last. The canvas provided by the Venice Palace of the Doges, is considered one of the most important works of the Renaissance.Abduction of Europe by Paolo Veronese1580, 162 × 191 cmExhibition “Renaissance in Venice. The triumph of beauty and the collapse of painting in the Thyssen-Bornemisza Museum will be open until September 24, 2017. Those who are physically unable to find themselves in Madrid before this date have the opportunity to take a virtual tour of the exhibition. Arthiv: read us in the Telegram and look at Instagram On the materials of the official website of the Thyssen-Bornemisza Museum, and other sources