Giorgione's followers had only to exploit the vein their master hit upon to find ample remuneration. Each, to be sure, brought a distinct personality into play, but the demand for the Giorgionesque article, if one may be allowed the phrase, was too strong to permit of much deviation. It no longer mattered what the picture was to represent or where it was going to be placed; the treatment had to be always bright, romantic, and joyous. Many artists still confined themselves to painting ecclesiastical subjects chiefly, but even among these, such painters as Lotto and Palma, for example, are fully as Giorgionesque as Titian, Bonifazio, or Paris Bordone.
Titian, in spite of a sturdier, less refined nature, did nothing for a generation after Giorgione's death but work on his lines. A difference in quality between the two masters shows itself from the first, but the spirit that animated each is identical. The pictures Titian was painting ten years after his companion's death have not only many of the qualities of Giorgione's, but something more, as if done by an older Giorgione, with better possession of himself, and with a larger and firmer hold on the world.
At the same time, they show no diminution of spontaneous joy of life, and even an increased sense of its value and dignity. What an array of masterpieces might be brought to witness! In the 'Assumption', for example, the Virgin soars heavenward, not helpless in the arms of angels, but borne up by the fullness of life within her, and by the feeling that the universe is naturally her own, and that nothing can check her course. The angels seem to be there only to sing the victory of a human being over his environment.
They are embodied joys, acting on our nerves like the rapturous outburst of the orchestra at the end of 'Parsifal'. Or look at the 'Bacchanals' in Madrid, or at the 'Bacchus and Ariadne' in the National Gallery. How brim-full they are of exuberant joy! you see no sign of a struggle of inner and outer conditions, but life so free, so strong, so glowing, that it almost intoxicates. They are truly Dionysiac, Bacchanalian triumphs -- the triumph of life over the ghosts that love the gloom and chill and hate the sun.
The portraits Titian painted in these years show no less feeling of freedom from sordid cares, and no less mastery over life. Think of 'The Man with the Gove' in the Louvre, of the 'Concert' and 'Young Englishman' in Florence, and of the Pesaro family in their altarpiece in the Frari at Venice -- call up these portraits, and you will see that they are true children of the Renaissance whom life has taught no ineannesses and no fears.
Renaissance Art, Renaissance Painting, Giorgione, Italian Art, Lotto, Giotto, The School of Leonardo, Raphael, Tintoretto, Paolo Veronese, Velasquez, Longhi, Massacchio, Verocchio, Naturalism, Duccio, Simone Martini, Renaissance Painters, Donatello, Pisanello, Liberale, Boticelli, Melozzo da Forli, Luca Signorelli, Michelangelo, Butinole, Zenalle, Bramante, Bramantino, Correggio, Leoardo da Vinci, Tactile Values, Humanism, The School of Verona, The Umbrian School, The School of Perugia, Domenico Brusasorci, Vincenzo Foppa, Milanese Art, Venetian Art, The School of Piedmont, Florence Art