As it recesses, Tintoretto’s strange space collapses time. No wonder Saint Mark multiplies.
Late Renaissance in Venice
This personal image was destined for Titian’s tomb, but he may also appear in it as St. Jerome.
Titian and Jacopo Palma il Giovane, Pietà
Here, everything is askew. Form dissolves as Tintoretto unites Florentine line with Venetian color.
Jacopo Tintoretto, Last Supper
Veronese described himself as a painter of figures. Judging by the throng depicted here, he clearly enjoyed it.
Paolo Veronese, Feast in the House of ...
This painting was once criticized for its loose, open brushwork—a hallmark of Tintoretto’s style we now admire.
Jacopo Tintoretto, The Miracle of the Slave
Titian’s depth of color and vivid illumination hold our attention, while Mary and Christ move apart and divide it.
Titian, Madonna of the Pesaro Family
Following the outstretched arms of the apostles, we look up to Mary and arrive at a circle of light.
Titian, Assumption of the Virgin
In the distance, lightning strikes. What does it mean? Poetic and evocative, this painting invites interpretation.
Giorgione, The Tempest
These three learned men differ in age, outlook, and dress. But do they represent religions, eras, or philosophies?
Giorgione, Three Philosophers
Opting for shadow over light, Titian frees himself—and future generations—from the Renaissance demand for clarity.
Titian, Christ Crowned with Thorns
Quiet and meditative, two kneeling shepherds set the painting’s tone—and allow the viewer to join them in worship.
Giorgione, The Adoration of the Shepherds
With her open mouth, tilted head, and soft flesh, Io exudes sensuality, giving herself up willingly to Jupiter.
Correggio, Jupiter and Io
Who are all these people? As it turns out, confusion is just part of the narrative—as is observation.
Paolo Veronese, The Family of Darius before Alexander
Jupiter swoops down and brings Hercules to nurse at Juno’s breast. The milk that spurts up creates the Milky Way.
Jacopo Tintoretto, The Origin of the Milky Way
Don’t touch me! Titian’s ghostly Christ evades Mary Magdalene’s reach—and escapes her searching gaze.
Titian, Noli me Tangere
The female nude emerged as a genre in the Renaissance. With her soft, sensual flesh, this Venus is a prime example.
Titian, Venus of Urbino
Cool greens and warm golds meld on this seductive canvas. The great swirls of paint were a model for later artists.
Paolo Veronese, The Dream of Saint Helena
The design for this Roman-inspired auditorium wed Palladio’s antiquarian knowledge with his artistic innovation.
Palladio, Teatro Olimpico
Opposites attract? In this mythological love story, colors clash, bodies twist, and actions conflict.
Titian, Bacchus and Ariadne
This landscape may be ideal, but it’s far from smooth. Playing with oil paint, Titian roughens the surface.