When it once more reached the point where its view of the world naturally sought expression in painting, as religious ideas had done before, the Renaissance found in Venice clearer utterance than elsewhere, and it is perhaps this fact which makes the most abiding interest of Venetian painting. It is at this point that we shall take it up.
The growing delight in life with the consequent love of health, beauty, and joy were felt more powerfully in Venice than anywhere else in Italy. The explanation of this may be found in the character of the Venetian government which was such that it gave little room for the satisfaction of the passion for personal glory, and kept its citizens so busy in duties of state that they had small leisure for learning. Some of the chief passions of the Renaissance thus finding no outlet in Venice, the other passions insisted all the more on being satisfied. Venice, moreover, was the only state in Italy which was enjoying, and for many generations had been enjoying, internal peace. This gave the Venetians a love of comfort, of ease, and of splendour, a refinement of manner, and humaneness of feeling, which made them the first modern people in Europe.
Since there was little room for personal glory in Venice, the perpetuators of glory, the Humanists, found at first scant encouragement there, and the Venetians were saved from that absorption in archaeology and pure science which overwhelmed Florence at an early date. This was not necessarily an advantage in itself, but it happened to suit Venice, where the conditions of life had for some time been such as to build up a love of beautiful things. As it was, the feeling for beauty was not hindered in its natural development. Archaeology would have tried to submit it to the good taste of the past, a proceeding which rarely promotes good taste in the present. Too much archaeology and too much science might have ended in making Venetian art academic, instead of letting it become what it did, the product of a natural ripening of interest in life and love of pleasure.
In Florence, it is true, painting had developed almost simultaneously with the other arts, and it may be due to this cause that the Florentine painters never quite realized what a different task from the architect's and sculptor's was theirs. At the time, therefore, when the Renaissance was beginning to find its best expression in painting, the Florentines were already too much attached to classical ideals of form and composition, in other words, too academic, to give embodiment to the throbbing feeling for life and pleasure.
Thus it came to pass that in the Venetian pictures of the end of the fifteenth century we find neither the contrition nor the devotion of those earlier years when the Church alone employed painting as the interpreter of emotion, nor the learning which characterized the Florentines. The Venetian masters of this time, although nominally continuing to paint the Madonna and saints, were in reality painting handsome, healthy, sane people like themselves, people who wore their splendid robes with dignity, who found life worth the mere living and sought no metaphysical basis for it. In short, the Venetian pictures of the last decade of the century seemed intended not for devotion, as they had been, nor for admiration, as they then were in Florence, but for enjoyment.
The Church itself, as has been said, had educated its children to understand painting as a language.
Now that the passions men dared to avow were no longer connected with happiness in some future state only, but mainly with life in the present, painting was expected to give voice to these more human aspirations and to desert the outgrown ideals of the Church. In Florence, the painters seemed unable or unwilling to make their art really popular. Nor was it so necessary there, for Poliziano, Pulci, and Lorenzo dei Medici supplied the need of self-expression by addressing the Florentines in the language which their early enthusiasm for antiquity and their natural gifts had made them understand better than any other -- the language of poetry.
In Venice alone painting remained what it had been all over Italy in earlier times, the common tongue of the whole mass of the people. Venetian artists thus had the strongest inducements to perfect the processes which painters must employ to make pictures look real to their own generation; and their generation had an altogether firmer hold on reality than any that had been known since the triumph of Christianity. Here again the comparison of the Renaissance to youth must be borne in mind. The grasp that youth has on reality is not to be compared to that brought by age, and we must not expect to find in the Renaissance a passion for on acquaintance with things as they are such as we ourselves have; but still its grasp of facts was far firmer than that of the Middle Ages.
Painting, in accommodating itself to the new ideas, found that it could not attain to satisfactory representation merely by form and colour, but that it required light and shadow and effects of space. Indeed, venial faults of drawing are perhaps the least disturbing, while faults of perspective, of spacing, and of colour completely spoil a picture for people who have an everyday acquaintance with painting such as the Venetians had. We find the Venetian painters, therefore, more and more intent upon giving the space they paint its real depth, upon giving solid objects the full effect of the round, upon keeping the different parts of a figure within the same plane, and upon compelling things to hold their proper places one behind the other.
As early as the beginning of the sixteenth century a few of the greater Venetian painters had succeeded in making distant objects less and less distinct, as well as smaller and smaller, and had succeeded also in giving some appearance of reality to the atmosphere. These are a few of the special problems of painting, as distinct from sculpture for instance, and they are problems which, among the Italians, only the Venetians and the painters closely connected with them solved with any success.
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
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