History of Venetian Painting, Vol. IV

The manuscript submitted is he fourth part of a planned series of six volumes dedicated to the history of Venetian painting from the beginning through to the 18th Century an overall survey, intended to fill the gap which, astonishing enough, still remains in art-historical literature. A similar undertaking on the part of the Italians I could not find, in spite of the three volumes of the Pittura nel Veneto from 1989/1990; the later series provides us with important facts, as biographies of numerous artists, and offers a thorough summary of the present state of research. A presentation of Venetian art involving other questions of specific art-historical interest is lacking, as for instance: the analysis of structure, genetic antecedents and the phenomenon of progress, iconographical and historical questions, problems of style and hermeneutics. These vital aspects are only touched upon sporadically, rather haphazard, detached from a stringent argument and therefore leaving the reader at a loss. The present book focuses on Titian. It is almost a monograph, as two third of the text is dealing with his paintings. The presentation is subdivided into five parts, due to the historical and biographical sources available, verified by the present state of research. The first stage in Titians development, encompassing the early works, stood under the heavy impact of Giorgione. Therefore it was mainly dealt with in the preceding third book; recourses were indispensable. The same goes for the second book in this series, dealing extensively with Giovanni Bellini, the first important teacher of the young Titian. Considering the exceptional long career of the painter, culminating in his revolutionary late accomplishments, the customary classification of his innumerable paintings executed during seven decades, very soon proves to be inept, requiring constant endorsement by the more flexible term modus. A constant reference to positive and critical statements as well, of the contemporaries has proved a most valuable source; especially the utterances of Pietro Aretino who paved the way for the steep career of the painter, establishing contact with numerous Italian courts and potentates. Other witnesses and later critics are referred to as well: Vasari, Dolce, and later on Ridolfi and Boschini. About a third of the present book deals with Titians artistic entourage during the years 1520-1550: Painters like Paris Bordone, Palma Vecchio, and Bonfazio de Pitati who were permanently influenced by the master; and, on the other hand, artists as Lorenzo Lotto, Pordenone, Savoldo, and Schiavone, proving to be more self-contained; this is especially true of Pordenone who must be regarded the initiator of mannerism in Northern Italy, in this respect at eye level with Titian himself. In the present book stress is laid on the analysis of every single works presented with regard to treatment of structure and colour. These aspects are lacking in most books and articles dealing with Titians painting, especially in the Italian ones. The analysis in this book is primarily based on intense observation, sustained by the principles of gestalt-theory and contemporary research of visual perception. Moreover, other aspects, as iconography, colour, light, and the phenomenon of time in the visual arts come to the fore. It goes without saying, that a survey of Venetian painting has to deal extensively with colour, and even more so, as this characteristic trait, paradoxically enough, proves to be almost completely neglected by the literature in quest (Theodor Hetzer exempt). The continuous discourse raises basic questions concerning hermeneutics and quality, and tackles problems of attribution and dates. Furthermore, the paintings are estimated not only with regard to the Venetian tradition, but also, by way of comparison, as artistic achievements in a much wider sense, transcending regional borders and the limitation of time.