Giorgione Enthroned Madonna With Saints Liberale And Francis Of Assisi

When we look at Giorgione Enthroned Madonna with Saints Liberale and Francis of Assisi produced during the 1500s we see a style and features prominent during the High Renaissance. Giorgione’s study of nature and teachings under Giovanni Bellini uses landscape to enhance the interpretation and mood within the painting. His incorporation of nature and elements found within everyday life help those to link religious concepts to that of earth.
Another feature worth noting is the clarity as individuals are strategical placed creating a balance with Madonna as the focal point. We are instantly drawn to the person held above all in a seated position while the other two stand forefront in a relaxed position. Physical features such as their posture
Proportions and symmetry also apparent as we see in the flooring and overall layout particularly components of the linear perspective used by other artist’s during this time. One can also state there is a triangular convergence of the three adult figures placed within the frame.
Moreover, in previous lessons realistic features and lifelike incorporation of art work has led many to reference humanism implying the stance emphasizing the modern interpretation of the human being. As stated earlier the shape and physical feature or either female or male are formulated in an obvious manor within Enthroned Madonna with Saints Liberale and Francis of Assisi.
In contrast to Giorgione’s portrait we assess Tintoretto’s work The Birth of John the Baptist and the distinct shift in style into the Late Renaissance with some aspects of mannerist. Although not a Mannerist artist he still incorporated many techniques associated with the work of those at the time. Noticeable features include the general layout of individuals placed in a chaotic state as some of them are in conflict with the frame of the painting. It is harder to make out the components within the portrait as those within the background are shadowed, less obvious. However, through the use of light in contrast to the darkness we gain a deeper sense to the quality and textures within
Although it is hard to make out facial features the posture of many of the characters display an insight into the emotional state of those within the frame. As the man to the right holds his hand to his chest with his head thrust up and out, almost in a dramatic effect. Likewise, a new depiction we have not seen in many religious works is the awkward positions in which a few of the women within the portrait are in.
Tintoretto incorporated similar features used within Titian’s with dark colors and contrast to light which recalls the baroque style. Common characteristics involve the dramatic aspects placing human behavior and emotions within the spotlight. The use of colors brings life to the portrait as with the clothing and draping of the fabric creating similar features found in the realistic perspective still found within Renaissance artwork.
As we have gained an understanding of the artists themselves we can associate a few traits within these two paintings that are like the other artist in particular the religious subjects portrayed within their work. Many if not most work done during the Renaissance had something to do with religion. Giorgione and Tintoretto both Italian painters did not stray from this path with spiritual representation found within each of their