Giorgione: The Tempest

Below is an abstract of a paper delivered in April, 2010 at the annual meeting of the Renaissance Society of America in Venice. Subsequently, the paper was also delivered at the 2011 annual meeting of the South Central Renaissance Conference in St. Louis. The paper itself can be found on my website, MyGiorgione by using the link on the right.

Giorgione: The Tempest

Abstract:This paper identifies the subject of Giorgione’s "Tempest" as "The Rest on the Flight into Egypt." This interpretation is the only one that identifies all the major elements in the painting. The nude woman nursing an infant is the Madonna. The man standing at the left functioning as an “interlocutor” is St. Joseph with his staff. The broken columns featured so prominently are commonplace in depictions of the rest on the Flight into Egypt. The city in the background is Judea from where the Holy Family has fled but could also be equated with Padua during the Cambrai war. The scraggly plant in the foreground is identified as a “belladonna” a plant associated with witchcraft and the Devil. No other interpretation of this painting has even attempted to identify the plant.

The great difficulties of this interpretation, the “nude Madonna” and the “young” Joseph are dealt with in the paper. The nude Madonna is Giorgione’s idiosyncratic way of depicting the concept of Mary’s Immaculate Conception, a doctrine of great importance at this time, especially in Venice. If the association with the War of Cambrai is correct, this interpretation dates the painting in 1509, a year before Giorgione’s death.

The paper also does discuss the relevance to the “Tempest” of a heretofore misidentified copy by David Teniers of a “lost” Giorgione. This painting is usually identified as “The “Discovery of Paris,” but it is actually Giorgione’s depiction of an apocryphal episode on the Flight of the Holy Family into Egypt which I call "The Encounter with the Robbers on the Flight into Egypt."

David Teniers; Copy of a lost Giorgione

My research on the "Tempest" has led to a number of other discoveries. For example:

1. The Giorgione painting in the Pitti Palace sometimes called the "Three Ages of Man" can now be identified as "The Encounter of Jesus with the Rich Young Man." See the  essay on MyGiorgione.

Giorgione: Three Ages of Man

2. A painting attributed to Palma Vecchio that is now in storage in the Philadelphia Museum bears a marked resemblance to the "Tempest," but it has usually been identified simply as "Allegory." This painting is now identified as "the Encounter of the Holy Family with the Infant John the Baptist on the Return from Egypt. See blog post dated November 21, 2010.

Palma Vecchio: Allegory

3. Titian's famous painting the "Sacred and Profane Love" is now identified as "The Conversion of Mary Magdalen." This paper was presented at the annual meeting of the South Central Renaissance Conference held in 2012 in New Orleans. See the full paper at My Giorgione. http://www.giorgionetempesta.com.

Titian: Sacred and Profane Love

4. The "Pastoral Concert" that now hangs in the Louvre has been variously attributed to Giorgione and Titian. Not only do I agree with those who attribute it to Titian but I also believe that it is Titian's "Homage to the Recently Deceased Giorgione." All the Giorgionesque elements in the painting were Titian's way of honoring his deceased friend. For the full paper see MyGiorgione. 

Titian: Pastoral Concert

Dr. Francis P. DeStefano holds a PhD in History from Fordham University but he is not associated with any educational institution. Although early in his career he taught History at a university in Fairfield, CT, he left teaching to build a financial planning practice. He retired in 2008 and now devotes himself to writing and lecturing on History, especially Art History.

Dr. DeStefano currently resides in Fairfield, Ct. His email address is drdestefano@mac.com.