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Micheline's Blog

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Micheline's Blog

Tag Archives: Titian

Titian, Bassano, Raphael &c

28 Monday Mar 2016

Posted by michelinewalker in Art, Italy, Literature

≈ 4 Comments

Tags

Baldassare Castiglione, Bassano, Book of the Courtier, Court of Urbino, Raphael, Renaissance, Titian

08bembo

Pietro Bembo by Raphael, c. 1504, Szépmûvesti Museum (Photo credit: Web Gallery of Art)

Portrait of Pietro Bembo

c. 1504
Oil on wood, 54 x 69 cm
Szépmûvészeti Múzeum, Budapest

RAFFAELLO Sanzio

(b. 1483, Urbino, d. 1520, Roma)http://www.wga.hu/html_m/r/raphael/1early/08bembo.html
Web Gallery of Art

When I turned on my computer this morning, there were several entries on Pietro Bembo and several portraits and other images associated our Cardinal. I am glad my short post generated a search for portraits of Pietro Bembo. The internet’s search engines are very powerful and bloggers may be more useful than they seem.

The portrait of Pietro Bembo, shown above, is by Raphael (b. 1483, Urbino, d. 1520, Roma) or Raffaello Sanzio and it is housed at the Szépmûvészeti Múzeum, in Budapest. Yes, Raffaelo Sanzio was at the Court of Urbino, his birthplace and the birthplace of “l’honnête homme,” not to mention salons. Raffaello Sanzio da Urbino produced a very beautiful portrait of Baldassare Castiglioni, the author of Il Cortegiano, or the Book of the Courtier (1528).

Baldassare_Castiglione,_by_Raffaello_Sanzio,_from_C2RMF_retouched

Baldassare Castiglione by Raphael, Louvre Museum (Photo credit: Wikipedia)

Pietro Bembo is mentioned in Wikipeda’s entry on Baldassare Castiglioni. As for the “Portrait of a Man” it remains unidentified, but according to Britannica, Giovanni Bellini did produce a painting of Cardinal Pietro Bembo, named “Portrait of a Young Man.” Bellini also painted an identified portrait of the Doge Leonardo Loredan.

His [Giovanni Bellini’s] Doge Leonardo Loredan in the National Gallery, London, has all the wise and kindly firmness of the perfect head of state, and his Portrait of a Young Man (c. 1505; thought to be a likeness of the Venetian writer and humanist Pietro Bembo) in the British royal collection portrays all the sensitivity of a poet (Britannica).

08bembo

Pietro Bembo by Raphael, c. 1504, Szépmûvészti Museum (Web Gallery of Art)

 

portrait-of-a-young-man-1_jpg!HalfHD

Portrait of a Man by Giovanni Bellini (Web Gallery of Art)

Conclusion

At the moment, we have three identified portraits of Pietro Bembo: Titian’s, Bassano’s and Raphael’s. Bellini’s “Portrait of a Man” or “Portrait of a Young Man,” shows a young man resembling Pietro Bembo, which is inconclusive. Given that Raphael, Titian, Bassano and Giovanni Bellini made a portrait of the Cardinal, it seems, however, that he was a prominent figure during his lifetime.

The book I am writing, on Molière, includes discussions of l’honnête homme. I am also revisiting préciosité and the querelle des femmes. Women met in salons.

RELATED ARTICLES

  • Pietro Bembo: Titian or Bassano? (26 March 2016)
  • A Few Words on “Sprezzatura” (21 June 2012)
  • Il Cortegiano, or “l’honnête homme” (3 October 2011)

Raphael

Giovanni_Bellini,_portrait_of_Doge_Leonardo_Loredan - Copie

Portrait of Doge Leonardo Loredam by Giovanni Bellini (Photo credit: Wikipedia)

© Micheline Walker
27 March 2016
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Pietro Bembo: Titian or Bassano?

26 Saturday Mar 2016

Posted by michelinewalker in Art, Easter, Renaissance

≈ Comments Off on Pietro Bembo: Titian or Bassano?

Tags

Bembismo, Jacopo Bassano, Latin, Pietro Bembo, Titian, Vernacular

 

07cardin

Portrait of a Cardinal by Jacopo Bassano, c. 1545

Portrait of a Cardinal
c. 1545
Oil on canvas, 58 x 46 cm
Szépmûvészeti Múzeum, Budapest
Web Gallery of Art

Jacopo Bassano

It appears the portrait of Cardinal Pietro Bembo (20 May 1470 – 18 January 1547) published in a post dated 27 January 2016 is not by Titian (1488/1490  – 27 August 1576). It is by Jacopo Bassano (1510 – 14 February 1592) and it was painted in c. 1545, a few years after Titian painted his portrait of Cardinal Pietro Bembo. Bassano’s cardinal is not given a name by the Szépmûvészeti Museum, but I suspect it is a portrait Cardinal Pietro Bembo.

Wikipedia’s entry on Pietro Bembo shows the above painting but it is attributed to Titian, However, the same painting is featured in Wikipedia’s entry on Jacopo Bassano. It is one of the paintings that forms part of a gallery located at the foot of the entry on Jacopo Bassano. The cardinal shown in Wikipedia’s entry on Bassano is not named, nor is the cardinal whose portrait, by Jacopo Bassano, is housed in Budapest’s Szépmûvészeti. It is the “Portrait of a Cardinal.”

Budapest’s Szépmûvészeti Múzeum is closed at the moment, but one may browse its collections online. Budapest’s “Portrait of a Cardinal” is attributed to Jacopo Bassano.

There is a third portrait of Cardinal Bembo. It was painted by Giovanni Bellini. I believe it is a portrait of a young man, but…

Titian (Titiano Vecelli)

As noted above, Titian did make a portrait of Pietro Bembo, which I presume explains the kerfuffle. Titian’s portrait is a more formal of Cardinal Bembo and it is dated c. 1540. It did occur to me that the portrait held at the Szépmûvészeti was wrongly attributed to Jacopo Bassano, but I doubt it very much.

Jacopo Bassano was a great artist.

Pietro Bembo by Titian, 1540 (WikiArt)
Pietro Bembo by Titian, 1540 (WikiArt)
Pietro Bembo by Jacopo Bassano, 1545 (Wikipedia)
Pietro Bembo by Jacopo Bassano, 1545 (Wikipedia)

About Pietro Bembo

The use of the vernacular as a literary language was the subject matter of the post I published on 27 January 2016. In Italy, the vernacular started to replace Latin relatively early and it was called the Petrarchan Movement. Bembo’s “way of making direct imitations of Petrarch was widely influential and became known as bembismo.”[1] According to Pietro Bembo, Petrarch’s use of Italian was a model for the modern Italian language. Petrarch lived in the 14th century (20 July 1304 – 19 July 1374).

Other models were Giovanni Boccaccio (1313 – 21 December 1375) and, to a lesser extent, Dante Alighieri (c. 1265 – 1321). (See Pietro Bembo, Wikipedia.)  In the Italian states, the vernacular, Italian, started to be used as a literary language at the beginning of the 14th century, which is an early date. It precedes the Renaissance which began when the Byzantine Empire fell to the Ottoman Turks, in 1453. However, the scholars who fled to Italy were Greek scholars.

Yes, I am writing my book, despite limitations.

Wishing all of you a very Happy Easter ♥

RELATED ARTICLES

  • Pietro Bembo by Titian, and the Vernacular (27 January 2016)
  • The Petrarchan Movement (6 December 2011)

_______________

[1] “Pietro Bembo”. Encyclopædia Britannica. Encyclopædia Britannica Online.
Encyclopædia Britannica Inc., 2016. Web. 26 mars. 2016
<http://www.britannica.com/biography/Pietro-Bembo>.

Philippe Jaroussky sings Vivaldi

portrait-of-a-young-man-1_jpg!HalfHD

Portrait of a Young Man by Giovanni Bellini

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26 March 2016
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Pietro Bembo by Titian, and the Vernacular

27 Wednesday Jan 2016

Posted by michelinewalker in Art, Vernacular

≈ 8 Comments

Tags

Geoffrey Chaucer, Joachim du Bellay, Masterpiece, Pietro Bembo, portraits, Shakespeare, Titian, Vernacular

15bembo

Portrait of Pietro Bembo by Titian, 1540 (WikiArt.org.)

A few posts ago, I listed two old posts as related articles. One was about the Petrarchan Movement, the other, about Joachim du Bellay.

In 1525, Cardinal Pietro Bembo (20 May 1470 – either 11 January or 18 January 1547) wrote Prose della volgar lingua, a text in which he encouraged authors to write in Italian, the vernacular, rather than Latin. The vernacular was Italian as spoken in Florence and Tuscany. For Pietro Bembo, however, it was the Italian used by Francesco Petrarch (20 May 1470 – either 11 January or 18 January 1547), hence the Petrarchan Movement. I also mentioned authors Dante Alighieri (1625 – 1321) and Giovanni Boccaccio (c. 1313- 21 December 1375).

The Madrigal

As for musicians, they too were to set to music texts written in Italian, rather than Latin. In the area of music, Francesco Landini (c. 1325 or 1335 – 2 September 1397) was the first writer of madrigals, a word meaning in one’s mother tongue: madre in Spanish.

France: Du Bellay

A few years later, in 1549, French poet Joachim du Bellay (c. 1522 – 1 January 1560) published his Défense et illustration de la langue française. It became acceptable to write poetry in one’s native language. Du Bellay was a poet, not a composer.

England: Chaucer

As for England, Geoffrey Chaucer (c. 1343 – 25 October 1400), who took the Roman de la Rose to England, he had also advocated the use of English, rather than Latin or French, as a literary language. He translated part of the Roman de la Rose. You may recall that until the end of the Hundred Years’ War, French was spoken at the court of England and Edward VII felt he was a legitimate heir to the throne of France. He wasn’t by virtue of the Salic Law. A woman could not ascend the throne of France. Edward VII’s mother was French. Hence the fratricidal nature of the Hundred Years’ War, a war of succession.

sans-titre

Shakespeare, the Chandos Portrait, sometimes attributed to Titian (Photo credit: Art History Today)

Titian (Tiziano Vecelli or Tiziano Vecellio)

Portrayed about is William Shakespeare (c 26 April 1564 – 23 April 1616) the Chandos Portrait, is sometimes attributed to Titian. (See Art History Today.)

RELATED ARTICLES

  • Art History Today
  • The Hundred Year’s War: its Literary Legacy (24 January 2016)
  • The Petrarchan Movement (6 December 2011)

 

With warm greetings to all of you. ♥ 

Titian
Ennio Morricone (Deborah’s Theme)

Titian%20side%20profile

Self-portrait by Titian
(Photo credit: Wikipedia)

© Micheline Walker
26 January 2016
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Pastorals: of Shepherds & Shepherdesses

14 Thursday Feb 2013

Posted by michelinewalker in Art, Literature

≈ Comments Off on Pastorals: of Shepherds & Shepherdesses

Tags

Alfred Bierstadt, Beethoven's 6th, Christopher Marlowe, Lupercus, Marie-Antoinette, Molière's Précieuses ridicules, Pastoral, Roman Lupercalia, The Passionate Shepherd to His Love, Thomas Cole, Titian, Virgil

Giorgione, Pastoral Concert. Louvre, Paris. A work which the Louvre now attributes to Titian, c. 1509.[9]

Giorgione, Pastoral Concert. Louvre, Paris. A work which the Louvre now attributes to Titian, c. 1509. (Photo credit: Wikipedia)

Giorgione, born Giorgio Barbarelli da Castelfranco (c. 1477/8–1510)
Titian, born Tiziano Vecelli or Tiziano Vecellio (c. 1488/1490 – 27 August 1576)
(Italian High Renaissance)

Pastorals: a Genre and a Movement

Pan is the “Greek god of the wild, shepherds and flocks, nature, of mountain wilds, hunting and rustic music, and companion of the nymphs” (Pan, Wikipedia) whose Roman counterpart is Faunus as well as Lupercus, the God of Shepherds.

Greek and Roman Antiquity: Theocritus and Virgil

Pan is also the god of all things “pastoral,” such as pastoral music. The Pastorale is a form of Italian music and the word “pastoral” is also used to describe Beethoven’s 6th symphony. Moreover, there is a pastoral literature.

Pastoral literature is rooted in Greek and Roman Antiquity, as is the Lupercalia.  Its two Greek and Roman authors are Theocritus[i] (born c. 300 bc, Syracuse, Sicily [Italy]—died after 260 bc), the creator of pastoral poetry[ii], and Virgil.[iii]  Virgil or Vergil wrote not only the Aeneid, but also the Egloges or Bucolics and the Georgics.  The Egloges can be read online at Egloges, a Gutenberg publication.

Closer to us pastoral literature begins with Battista Guarini‘s bucolic tragicomedy Il Pastor Fido[iv] (1580 to 1585), The Faithful Shepherd, set in Arcadia, literally, a region of Greece; metaphorically, an idyllic countryside.

La Préciosité: French 17th-Century Salons

Moreover, pastoral, also describes the “perfect” world of 17th-century salonniers and salonnières who made believe they were shepherds and shepherdesses.  Préciosité was escapism at its worst or its best, depending on one’s point of view.  Seventeenth-century Précieuses (literally, precious) put such a high price on marriage and sexuality, that they often made suitors wait a very long time.  French dramatist Molière[v] ridiculed the Précieuses in Les Précieuses ridicules (Théâtre du Petit-Bourbon, 18 November 1659).

Préciosité was a lifestyle.  It was courtly love carried to an extreme, i.e. platonic love precluding sexuality.  Préciosité is therefore at the opposite end of the Lupercalia which celebrated fertility.  Lupercus was god of shepherds, but not the imaginary shepherds and shepherdesses of précieux convention, nor the raucous Luperci of the Lupercalia, but Christopher Marlowe‘s well-mannered yet “passionate” shepherd, associated with courtly love, idyllic love that does not exclude sexuality.

Christopher Marlowe’s Shepherds and Sheperdhesses

The Passionate Shepherd to his Love by Christopher Marlowe (baptised on 26 February 1564 – 30 May 1593) is perhaps the most celebrated of English pastoral poems:

Come live with me and be my Love,
And we will all the pleasures prove
That hills and valleys, dale and field,
And all the craggy mountains yield.
 
There will we sit upon the rocks
And see the shepherds feed their flocks,
By shallow rivers, to whose falls
Melodious birds sing madrigals.
 
(Pastoral, Wikipedia) 
The Course of Empire, Arcadian or Pastoral State, by Thomas Cole

The Course of Empire, Arcadian or Pastoral State by Thomas Cole, 1836

Marie-Antoinette & Geoffrey Chaucer

Earlier in my new career as blogger, I wrote a post about Marie-Antoinette, an accomplished musician who composed a lovely “pastorale” that straddles the less rigid conventions of courtly love and Christopher Marlowe’s “The Passionate Shepherd to his Love.”  Courtly love’s masterpiece, sometimes considered too daring, is the Roman de la Rose, The Romaunt of the Rose, an allegory of love translated, though not in its entirety, by Geoffrey Chaucer.

Valentine’s Day

Chaucer (c. 1343 – 25 October 1400) can in fact be credited with the birth of Valentine’s Day as we know it, a matter discussed in my next post.  However, Chaucer was influenced by a tapestry, La Dame à la licorne (The Lady and the Unicorn), housed at the Cluny Museum, in Paris.  The Unicorn is a mythical animal that can only be captured by a virgin.  However, the Unicorn is also a trans–cultural figure, hence multi-faceted.

RELATED ARTICLES 

  • “C’est mon ami,” composed by Marie Antoinette (michelinewalker.com)
  • Tea at Trianon: C’est mon ami (Elena Maria Vidal)
  • The Lady and the Unicorn: the Six Senses (michelinewalker.com)
  • The Lady and the Unicorn: a Tapestry (michelinewalker.com)
_________________________
[i] “Theocritus”. Encyclopædia Britannica. Encyclopædia Britannica Online.Encyclopædia Britannica Inc., 2013. Web. 13 Feb. 2013 <http://www.britannica.com/EBchecked/topic/590569/Theocritus>.
 
[ii] “Pastoral literature”. Encyclopædia Britannica. Encyclopædia BritannicaOnline.  Encyclopædia Britannica Inc., 2013. Web. 13 Feb. 2013 <http://www.britannica.com/EBchecked/topic/446078/pastoral-literature>.
 
[iii] “Virgil”. Encyclopædia Britannica. Encyclopædia Britannica Online.
Encyclopædia Britannica Inc., 2013. Web. 13 Feb. 2013 <http://www.britannica.com/EBchecked/topic/629832/Virgil/24449/Literary-career>.
 
[iv] Battista Guarini (born 10 Dec. 1538, Ferrara—died 7 Oct. 1612, Venice) and Torquato Tasso (born 11 March 1544, Sorrento, Kingdom of Naples [Italy]—died 25 April 1595, Rome) are “credited with establishing the form of a new literary genre, the pastoral drama.” (See footnote [ii].)
 
[v] born Jean-Baptiste Poquelin, baptised 15 January 1622 –  17 February (1673).
 
 
composer: Ludwig van Beethoven (baptized 17 December 1770 – 26 March 1827)
piece: “Symphony No. 6 in F Major, Op. 68, “Pastoral,” 4th and 5th movements, “the Storm”
performers: Wiener Philharmoniker
conductor: Karl Böhm (28 August 1894 in Graz – 14 August 1981 in Salzburg)
featured artist: Albert Bierstadt (7 January 1830 – 18 February 1902)
 
Cabbage and Vine, by Morris,

Cabbage and Vine, by William Morris

  © Micheline Walker
  14 February 2013
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From Bruges to the Venetian School of Music

21 Monday Nov 2011

Posted by michelinewalker in Music

≈ Comments Off on From Bruges to the Venetian School of Music

Tags

Franco-Flemish school, lute, madrigal, Renaissance music, Titian, Venetian school, Williaert

Titian (c. 1488/1490 – 27 August 1576)

(click on picture to enlarge)

The Franco-Flemish Schools: art and music

During the Hundred Year’s War (1337 to 1453), the Dukes of Burgundy added to their “original fiefs” (the duchy and county of Burgundy, in East-central France) most of what are today Holland, Belgium, northeast France, Luxembourg and Lorraine.  In fact, “the dukes of Burgundy ruled over the whole as virtually independent sovereigns until 1477.”[i]

So let us go from the original Burgundian lands to the larger Franco-Flemish territory, the birthplace of masterful enlumineurs, but also the birthplace of extremely influential musicians, such as Adriaan Willaert (c. 1490 – 7 December 1562).

As well, Bruges remains the foremost centre in the manufacture of rugs and tapestries, some containing motifs we have mentioned in earlier blogs, such as what I have called the grape and leaf motif, better described as the “vine motif.”

Adriaan Willaert: The Venetian School of Music

But music is our subject, albeit in a very introductory manner.

What I wish to point out is that the musicians whom the Italians hired were Franco-Flemish musicians and that among these musicians was Adriaan Willaert, the Flemish composer, born in Bruges, who founded the Venetian School (1550 to around 1610).

In other words,  Italy did not bring music to the north, the north went down to teach music to the Italians who then exported their own music to Vienna.  Such was the road travelled by Antonio Vivaldi (4 March 1678 – 28 July 1741).

Vienna would later become home to Haydn, Mozart and Beethoven, the three main composers of the classical era.

However, in the seventeenth-century, musicians trained in Italy also settled in France, Lully being the foremost representative among Italian-born French composers.  Ironically, France owes the French Overture to Italy, but not altogether, as it all began in the expanded Burdundian lands, not to mention that Franco-Flemish composers brought music to Italy.

Adriaan Willaert’s most influential appointment was as maestro di cappella of St. Mark‘s at Venice.  He occupied this post from 1527 until his death in 1562 and students came to him not only from Italy, but from all over Europe.

In other words, Reynard the Fox was born in Nivardus of Ghent’s Isengrimus (c. 1140), where he was called Reinardus.  The frères de Limbourg, who produced the richly-decorated Très Riches Heures du Duc de Berry were born in Nijmegen, in what is now the Low Countries.  Very fine rugs and tapestries are still made in Bruges.  And now, Adriaan Willaert, born in Bruges, has taken music to Italy.

The French Chanson and the Madrigal

To return to music, we could discuss polyphonic music, but it seems best to begin with the not-so-humble monophonic song.  I have written “not so humble” for those who love Schubert‘s (31 January 1797 – 19 November 1828) Lieder: songs.

Willaert wrote 60 French chansons and 70 Italian madrigals (songs in the mother [madre] tongue) and trained a flock of madrigalists whose ancestors were courtly singers, or trouvères, members of the upper bourgeoisie and aristocrats who worshipped women.  Madrigalists did not worship women, but they have left us beautiful songs, including love songs.

Madrigals can be written for several voices (polyphonic) or for one voice (monophonic).  The example I am using is a monophonic madrigal, composed by Willaert and entitled  O quando a quando havea.  I have not found the text, but I will look for it.

click to hear O quando a quando havea; click to hear Lully

Lute

* * *

November 21, 2011


[i] J. P. Burkholder, D. J. Grout and Claude V. Palisca, A History of Western Music (New York and London: W. W. Norton & Company, 2006 [1973]), p. 175.

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