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The period of Renaissance is, by all means, one of the most outstanding art epochs of all times marked by a variety of masterpieces that live beyond time and any possible external influence. However, when people are talking about the following are, they often try to unify the peculiarities of the numerous art schools that were emerging and functioning at the time. Each of these schools, including the school of Venice, is characterized by its authentic tendencies in using specific colors, mediums, and painting subjects. The following paper is aimed at examining how Giorgione’s “The Tempest,” ca. 1506-8, reflects the major patterns of the Renaissance through its formal characteristics and influence of the historical and cultural context.
Primarily, it is necessary to dwell upon the visual details of the painting, as they develop a whole perspective of the artwork recognition and perception by recipients.
The painting itself might be primarily characterized by a variety of details depicted on canvas, making a recipient draw attention to each of them to define the subject matter. The very composition of the work creates a full-scale storyline that consists of two major components. The color palette of the painting is replete with warm color shades that somehow mark the era of its creation, as the vast majority of High Renaissance paintings have similar palette patterns (Burke, 2017). The painting’s texture and medium are also relevant to the timeframe of its production, as the vast majority of the paintings were made on canvas with the help of oil paint, creating a somehow simulated texture of the artwork.
The notion of subject matter in “The Tempest” has been a subject for continuous discussion since its introduction to the broad audience at the beginning of the 16th century. The work is divided into two vivid parts, where the first one depicts a naked woman sitting on the bank and holding a baby near her breast. Another part of the painting displays a young man in a sophisticated dressing who looks at the woman while still somehow remaining in the background. Such an author’s motive was interpreted with the help of various assumptions related to religion, society, and war prevention in 16th-century Venice (“Giorgine Artworks,” n.d.). Thus, despite the decades of meticulous research aimed at defining the genuine storyline, the question itself remains open for discussion and assumptions.
When considering any piece of art, it is of paramount importance to define the context in which it was made to define some of the major themes that might have been integrated into the subject. Hence, the timeframe of the following painting’s creation is characterized by the Renaissance era, which marked the rapid development in all spheres of human intellectual crafts, philosophy, science, art, and literature. Moreover, the epoch was characterized by the emergence of humanism and the promotion of anthropocentrism, making a human being a central aspect of historical development (King, 2016). As a result, most artworks at the time were focused on the depiction of people in different settings, emphasizing a particular social aspect from war to religious affiliation. Considering the aforementioned facts, it might be concluded that Giorgione’s “The Tempest” is a vivid example of High Renaissance art characterized by using specific colors, themes and focusing on the people’s depiction in the given setting.
References
Burke, J. (Ed.). 2017. Rethinking the High Renaissance: The Culture of the Visual Arts in Early Sixteenth-Century Rome. London, UK: Routledge.
Giorgione Artworks. n.d. The Art Story. Web.
Giorgione. The Tempest [Image]. 2012. Fine Art America. Web.
King, M. L. 2016. A Short History of the Renaissance in Europe. Toronto, Canada: University of Toronto Press.
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