Two portraits capture the ambition and impudence of Titian's close friend and publicist.
The Renaissance in Venice: c. 1400-1585
Brotherhoods lent stability to religious and civic life. These wealthy institutions also commissioned paintings.
Devotional confraternities (scuole) in Renaissance Venice
10 inches—that’s how far Venice has sunk. As sea levels and tourism rise, can this historic city survive?
Saving Venice
This canvas was rolled, varnished, reworked, and revised again. A classical scene, it once hung in a study.
Giovanni Bellini and Titian,The Feast of the ...
As it recesses, Tintoretto’s strange space collapses time. No wonder Saint Mark multiplies.
Jacopo Tintoretto, The Finding of the Body ...
Now in Technicolor! Mantegna’s saturated paint and vivid illusionism bring the Court of Heaven to life.
Andrea Mantegna, San Zeno Altarpiece
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
Their island climate didn’t suit fresco, so the Venetians tried oils instead—these paints blend when wet.
Oil paint in Venice
Here, everything is askew. Form dissolves as Tintoretto unites Florentine line with Venetian color.
Jacopo Tintoretto, Last Supper
Bellini opens up this painting’s space, but holds the viewer at bay. The mood is calm, solemn, and contemplative.
Giovanni Bellini, San Zaccaria Altarpiece
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 ...
Mantegna was fascinated by perspective. His radical foreshortening and realism focus attention on Christ’s wounds.
Andrea Mantegna, Dead Christ
With its decorative marble and golden light, this space looks a lot like San Marco. Shall we? St. Francis beckons.
Giovanni Bellini, San Giobbe Altarpiece
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.