videos + essays

We're adding new content all the time!

Titian, two portraits of Pietro Aretino
Titian, two portraits of Pietro Aretino

Two portraits capture the ambition and impudence of Titian's close friend and publicist.

Jacopo Tintoretto, <em>The Finding of the Body of Saint Mark</em>
Jacopo Tintoretto, The Finding of the Body of Saint Mark

As it recesses, Tintoretto’s strange space collapses time. No wonder Saint Mark multiplies.

Titian and Jacopo Palma il Giovane, <em>Pietà</em>
Titian and Jacopo Palma il Giovane, Pietà

This personal image was destined for Titian’s tomb, but he may also appear in it as St. Jerome.

Jacopo Tintoretto, <em>Last Supper</em>
Jacopo Tintoretto, Last Supper

Here, everything is askew. Form dissolves as Tintoretto unites Florentine line with Venetian color.

Paolo Veronese, <em>Feast in the House of Levi</em>
Paolo Veronese, Feast in the House of Levi

Veronese described himself as a painter of figures. Judging by the throng depicted here, he clearly enjoyed it.

Jacopo Tintoretto, <em>The Miracle of the Slave</em>
Jacopo Tintoretto, The Miracle of the Slave

This painting was once criticized for its loose, open brushwork—a hallmark of Tintoretto’s style we now admire.

Titian, <em>Madonna of the Pesaro Family</em>
Titian, Madonna of the Pesaro Family

Titian’s depth of color and vivid illumination hold our attention, while Mary and Christ move apart and divide it.

Titian, <em>Assumption of the Virgin</em>
Titian, Assumption of the Virgin

Following the outstretched arms of the apostles, we look up to Mary and arrive at a circle of light.

Giorgione, <em>The Tempest</em>
Giorgione, The Tempest

In the distance, lightning strikes. What does it mean? Poetic and evocative, this painting invites interpretation.

Giorgione, <em>Three Philosophers</em>
Giorgione, Three Philosophers

These three learned men differ in age, outlook, and dress. But do they represent religions, eras, or philosophies?

Titian, <em>Christ Crowned with Thorns</em>
Titian, Christ Crowned with Thorns

Opting for shadow over light, Titian frees himself—and future generations—from the Renaissance demand for clarity.

Giorgione, <em>The Adoration of the Shepherds</em>
Giorgione, The Adoration of the Shepherds

Quiet and meditative, two kneeling shepherds set the painting’s tone—and allow the viewer to join them in worship.

Selected Contributors | Venice in the 16th century