The Renaissance in Italian: as Titian, Tintoretto and Veronese divided Venice

© RIA Novosti / Vladimir Mackinderite in fotomonster in the exhibition Venice in the Renaissance. Titian, Tintoretto, Veronese. Paintings from the collections of Italy and RussiaThe Renaissance in Italian: as Titian, Tintoretto and Veronese divided Venice© RIA Novosti / Vladimir Mackinderite the image Bank

In the State Museum of fine arts named after as Pushkin opens major summer exhibition, «the Venice of the Renaissance. Titian, Tintoretto, Veronese. From the collections of Italy and Russia». In Moscow for the first time brought 23 the works of the great Venetians, including those that have not previously been seen outside of Italy. Born in different cities, belonging to different generations and social strata, these artists nevertheless wonderfully complement each other. The creative dialogue between the three geniuses of the curators of the exhibition have paid special attention to.

A pioneer in this revolution of light and color was the most senior and the most outstanding artists of the Venetian school — Titian. For all other masters of the XVI century he was a figure that looked up to, idolized and competed, says the scientific Director of the exhibition, Professor at Verona University Bernard Aykem.

«Everything was align himself with Titian. He introduced the idea of color and light in Venetian and European art. In this sense Titian can be considered the first true European artist. Tintoretto was younger, worked mainly for Venetian clients and gradually replaced Titian in Venice. Between them there was real competition. Then to Venice came a young man named Paolo Cagliari, surnamed Veronese, that is, «the man from Verona». This artist has managed to establish friendly relations with Titian, he was more good-natured, in contrast to the harmful Tintoretto, Titian therefore it has suffered», — says the expert of the intricacies of relationships between artists.

© RIA Novosti / Vladimir Mackinderite in photobacteria in front of the painting, Veronese’s «the rape of Europe» at the exhibition «Venice of the Renaissance. Titian, Tintoretto, Veronese. Paintings from the collections of Italy and Russia»The Renaissance in Italian: as Titian, Tintoretto and Veronese divided Venice© RIA Novosti / Vladimir Mackinderite in photobacteria in front of the painting, Veronese’s «the rape of Europe» at the exhibition «Venice of the Renaissance. Titian, Tintoretto, Veronese. Paintings from the collections of Italy and Russia»

Exhibition in the Pushkin was opened on the eve of the anniversary of the second-highest masters of this great Trinity of Tintoretto. Unlike Titian and Veronese, he was a Venetian by birth. The real name of the artist Jacopo Robusta. Nickname Tintoretto means «little Dyer» — a common profession in Venice of that era. Curator of the exhibition, chief researcher of the Pushkin Museum. Pushkin Victoria Markova says that previously exhibited the ability Tintoretto entered the Studio of Titian, but after 10 days the master kicked the disciple.

«According to legend, the reason was jealousy: the young Tintoretto showed the skill and talent. It is unknown who he in the end went, but it worked for the lower strata of Venetian society, received a modest fee. Many wrote to churches where still kept his job. Natural talent allow to create very quickly, so the artist painted many works. He always understood the needs of the customer,» says the curator.

© RIA Novosti / Vladimir Mackinderite photobacteria in front of a painting by Vecellio Titian’s «Salome» at the exhibition «Venice of the Renaissance. Titian, Tintoretto, Veronese. Paintings from the collections of Italy and Russia»The Renaissance in Italian: as Titian, Tintoretto and Veronese divided Venice© RIA Novosti / Vladimir Mackinderite photobacteria in front of a painting by Vecellio Titian’s «Salome» at the exhibition «Venice of the Renaissance. Titian, Tintoretto, Veronese. Paintings from the collections of Italy and Russia»

Over time Tintoretto had his own workshop where he helped two sons. However, even as eminent master, he continued to look at the Titian, which is noticeable in the techniques that he used in his works. At the same time was able to significantly expand the opportunities open to contemporaries Titian, adding to their picture of the tragedy and dynamism.The Renaissance in Italian: as Titian, Tintoretto and Veronese divided Venice© RIA Novosti / Vladimir Astapkovich in votebanned to the future: the Pushkin Museum and new artists

The youngest of their three artists represented in the exhibition, Paolo Veronese. His first big order — decoration of the Church of San Sebastiano, he received through the patrons, but, showing skill and originality, became extremely popular and settled in Venice. Maintaining friendly relations with Titian and occupying a niche that is not claimed by Tintoretto, Veronese managed to create their own style. In any, even the most dramatic story artist looking for harmony, which became the cornerstone idea of the Renaissance. From mythological subjects to biblical paintings, portraits for private clients to large altar images in Pushkin presents all the giant range of the Venetian school.

© Photo : public domainТициан. The Annunciation. 1564. Venice, Church of San SalvadorThe Renaissance in Italian: as Titian, Tintoretto and Veronese divided Venice© Photo : public domainТициан. The Annunciation. 1564. Venice, Church San Salvador

«This exhibition is a unique example and opportunity to see some of the most striking works of Venetian painters of the Renaissance period. The exhibition about the history of civilization and the progress that has been made in quite a short period of time, visible in the works and absolutely unique. It is comparable to the flight of humans into space,» — said Vasily Titov, first Deputy President-Chairman of the Board of VTB Bank, General partner and General sponsor of the Pushkin Museum. Of A. S. Pushkin.

Looking at the carefully selected to exhibit work, it is easy to trace the game of borrowing, the roll, and sometimes confrontation between the three artists. The exhibition will run until 20 August 2017.

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