Rebuilding The Renaissance

Known as the “pittore maledetto” – or the “cursed painter”, Caravaggio not only revolutionized painting at the turn of the 16th and 17th centuries with his “hyper-realistic” style, but he also literally turned Rome on its head with his often-criminal behavior. Spending much of his time between brothels and taverns, Caravaggio’s love of the vulgar and violence became his primary artistic inspiration. His paintings would often reflect his sociopathic lifestyle, frequently depicting Christian subjects in completely inappropriate ways. This episode follows in the footsteps of the artist to recount his unique and entertaining biography.

From the water source of the Neptune Fountain in Florence, to the animal symbolism of the Nativity subject, to the restorations of Masacccio’s Brancacci Chapel and “Holy Trinity,” to how Leonardo’s notebook ended up in the Windsor collection, to the accuracy of historical fiction movie and television series dealing with the Renaissance and much, much more - this episode answers the veryquestionsthat you ask me about the great art, artists and history of the Italian Renaissance.

Left unfinished at this death in 1576, Titian’s “Pietà” was intended to serve as his funerary monument. Its extreme use of loose brushstroke and unconventional color combinations led one art historian to describe the painting as an example of “chromatic alchemy.”

Painted in the last year’s of Titian’s life, the “Crowning with Thorns” in Munich revisited a theme that he painted 30 years earlier in a painting today located in the Louvre in Paris. Examined side by side, there is perhaps no better way to demonstrate the dramatic evolution of Titian’s style to very loose and suggestive brushwork in the final stage of his career.

Painted around 1565, this exquisite painting exemplifies Titian’s later style with its loose brushstroke, sophisticated use of color, and delicate tonal transitions. The meaning of the painting is somewhat controversial as it does not fall into any traditional iconographical schemes and has consequently resulted in various scholarly theories being proposed.

In 1573, Paolo Veronese was commissioned by the Dominicans at the church of Saints Giovanni and Paolo in Venice to paint a “Last Supper” to replace an earlier version by Titian that had been destroyed by fire. The result was a massive image full of numerous figures engaged in a hedonistic celebration. Not surprisingly, a few months after completing the painting, the artist was called before the Holy Tribunal of Venice to answer to accusations of indecorous religious painting. Veronese was able to satisfy his inquisitors and save his painting by changing its subject to the “Feast in the House Levi.”

In 1562, Veronese was commissioned to paint a massive painting of the “Wedding Feast at Cana” to adorn the end wall of the refectory of the Benedictine monastery of San Giorgio in Venice, Italy. What he produced was an extraordinary impression of typical Venetian revelry in the late 16^th century with more than 100 figures participating in the great feast.

Paolo Veronese is the third member of the great Venetian late Renaissance trio that also includes Titian and Tintoretto. The church of San Sebastiano in Venice was decorated over 15 years with paintings exclusively by Veronese and is a veritable shrine to the genius of this great painter.

This episode addresses the paintings in the second half of the Chapter Hall of the Scuola, which focus specifically on the theme of food with scenes of “Manna Falling from Heaven” and the “Last Supper.”

Once he completed his paintings for the Albergo, Tintoretto continued the decoration of the Scuola with a series of paintings for the Chapter Hall. These paintings are some of Tintoretto’s best and demonstrate his revolutionary approach to painting.