tag:blogger.com,1999:blog-7054785923214156833.post1283441206769625298..comments2024-02-03T17:02:45.046-08:00Comments on Giorgione et al...: Giorgione, "Tempest": Gypsy MadonnaDr. Fhttp://www.blogger.com/profile/08469403843869655063noreply@blogger.comBlogger3125tag:blogger.com,1999:blog-7054785923214156833.post-68707134473513620952010-11-29T08:43:13.357-08:002010-11-29T08:43:13.357-08:00Thank you for the response Frank.
That's abs...Thank you for the response Frank. <br /><br />That's absolutely fascinating to hear about Fra Bartolommeo. He does indeed seem to fit the bill nicely for a link between Savonarola, Raphael and Giorgione... although I'm still not as convinced that the amorous Raphael had much fear for his mortal soul - especially if what Michelangelo said about him was any guide!<br /><br />HAnonymoushttps://www.blogger.com/profile/02091875643921165081noreply@blogger.comtag:blogger.com,1999:blog-7054785923214156833.post-79651155885001984242010-11-29T07:33:01.827-08:002010-11-29T07:33:01.827-08:00H:
Thanks for a very thoughtful comment. I'm ...H:<br /><br />Thanks for a very thoughtful comment. I'm halfway through Marlow's excellent Raphael video and I see why you like him. In my opinion, most of the Madonnas that have been called "Madonna of Humulity" have been incorrectly identified. I believe that any depiction of the Madonna sitting on the ground with a landscape background is a representation of the sojourn in Egypt. <br /><br />About Savonarola, how's this for a connection between the Dominican friar, Raphael and Giorgione? A Florentine painter, Jacopo della Porta, was so moved by the martyrdom of Savonarola that he decided to become a Dominican friar himself. He took the name Fra Bartolommeo. In 1504 when Raphael came to Florence, he and Fra Bartolommeo became close associates. Four years later, Raphael set out for Rome but Fra Bartolommeo went to Venice to work on the decoration of a Dominican house in Murano. During this period he painted a number of versions of the Rest on the Fflight into Egypt. <br /><br />Finally, Catholics, especially Venetian ones, were not Puritans. It is certainly very likely that they could be charmed by the lute and verse but still be concerned with their immortal souls.<br /><br />FrankDr. Fhttps://www.blogger.com/profile/08469403843869655063noreply@blogger.comtag:blogger.com,1999:blog-7054785923214156833.post-16886349438500608312010-11-28T19:17:20.776-08:002010-11-28T19:17:20.776-08:00Very interesting Frank! I'm perplexed that Hol...Very interesting Frank! I'm perplexed that Holberton would be so closed-minded in his approach - being dismissive of deliberately placed iconographical markers! <br /><br />Any student of Giorgione would concede that he enjoyed the dynamic interpretative nature of symbolism, at once providing multiple meaning and a sense of mystery. Holberton dismissing this for a very 'black and white' reading makes no sense in the context of Renaissance art, particularly Giorgione!<br /><br />I recently posted a Raphael clip presented by UK Art Historian Tim Marlow. He highlighted one of Raphael's Madonnas as wearing a turban as well - would you say this is an extension of this 'gypsy' or outsider theme?<br /><br />The iconography of the turban in that instance would seem to locate Mary as being in the eastern wilderness, which would seem to correlate nicely with the "Rest/Flight from Egypt" reading.<br /><br />My other question is about the amazing background you supplied about Savonarola. We know from many sources what a profound influence he had on Botticelli and Michelangelo(both strongly tied to Florence). I'm curious as to whether there is anything more concerete linking Savonarola to Giorgione. <br /><br />I know I am being led by my sketchy Vasari description, but Michelangelo and Botticelli being swayed by Savonarola makes sense, whereas this is seemingly less evident for Giorgione - whom we are told charmed courts with his lute and verse - not exactly the picture of someone consumed with soul wracking religious zeal!<br /><br />Even Raphael seemed to be less consumed with this - particualarly when he got to Rome. His jesting at Michelangelo's personality being the equivalent of an executioner seems to indicate that we was less troubled by that type of fervour. Indeed, not many of his Madonnas look like beggars so he must not have found great solace in Savonarola's words??<br /><br />HAnonymoushttps://www.blogger.com/profile/02091875643921165081noreply@blogger.com