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The Venetian painters of Renessaince

Moses Pinman
Tue, 02 Apr 2013 14:00:00 GMT

Among the Italian schools of painting the Venetian has, for the majority of art-loving people, the strongest and most enduring attraction. In the course of the present brief account of the life of that school we shall perhaps discover some of the causes of our peculiar delight and interest in the Venetian painters, as we come to realise what tendencies of the human spirit their art embodied, and of what great consequence their example has been to the whole of European painting for the last three centuries.

Tue, 02 Apr 2013 14:00:00 GMT

The Venetians as a school were from the first endowed with exquisite tact in their use of colour. Seldom cold and rarely too warm, their colouring never seems an afterthought, as in many of the Florentine painters, nor is it always suggesting paint, as in some of the Veronese masters.

Tue, 02 Apr 2013 14:00:00 GMT

When the eye has grown accustomed to make allowance for the darkening caused by time, for the dirt that lies in layers on so many pictures, and for unsuccessful attempts at restoration, the better Venetian paintings present such harmony of intention and execution as distinguishes the highest achievements of genuine poets.

Tue, 02 Apr 2013 14:00:00 GMT

Their mastery over colour is the first thing that attracts most people to the painters of Venice. Their colouring not only gives direct pleasure to the eye, but acts like music upon the moods, stimulating thought and memory in much the same way as a work by a great composer.

Tue, 02 Apr 2013 14:00:00 GMT

Then again the Church from the first took account of the influence of colour as well as of music upon the emotions.

Tue, 02 Apr 2013 14:00:00 GMT

But from the earliest times it employed mosaic and painting to enforce its dogmas and relate its legends, not merely because this was the only means of reaching people who could neither read nor write, but also because it instructed them in a way which, far from leading to critical enquiry, was peculiarly capable of being used as an indirect stimulus to moods of devotion and contrition.

Tue, 02 Apr 2013 14:00:00 GMT

Next to the finest mosaics of the first centuries, the early works of Giovanni Bellini, the greatest Venetian master of the fifteenth century, best fulfil this religious intention.

Timothy Berg
Tue, 02 Apr 2013 14:00:00 GMT

Painting had in his lifetime reached a point where the difficulties of technique no longer stood in the way of the expression of profound emotion. No one can look at Bellini's pictures of the Dead Christ upheld by the Virgin or angels without being put into a mood of deep contrition, nor at his earlier Madonnas without a thrill of awe and reverence. And Giovanni Bellini does not stand alone. His contemporaries, Gentile Bellini, the Vivarini, Crivelli, and Cima da Conegliano all began by painting in the same spirit, and produced almost the same effect.

Tue, 02 Apr 2013 14:00:00 GMT

The Church, however, thus having educated people to understand painting as a language and to look to it for the expression of their sincerest feelings, could not hope to keep it always confined to the channel of religious emotion. People began to feel the need of painting as something that entered into their every-day lives almost as much as we nowadays feel the need of the newspaper; nor was this unnatural, considering that, until the invention of printing, painting was the only way, apart from direct speech, of conveying ideas to the masses. At about the time when Bellini and his contemporaries were attaining maturity, the Renaissance had ceased to be a movement carried on by scholars and poets alone. It had become sufficiently widespread to seek popular as well as literary utterance, and thus, toward the end of the fifteenth century, it naturally turned to painting, a vehicle of expression which the Church, after a thousand years of use, had made familiar and beloved.

Janne Lehtinen
Thu, 12 Feb 2015 09:49:06 GMT

I couldn't agree more with this!

Andrei Holas
Tue, 15 Sep 2015 20:23:52 GMT