Giorgione’s so-called “Three Philosophers,” that now hangs in the
Kunsthistorisches Museum in Vienna, is one of a handful of paintings
universally attributed to him. If there was ever any doubt, it was settled in
the year 1800 with the discovery of the notes of Venetian patrician Marcantonio
Michiel, a contemporary of Giorgione’s. Michiel had visited the homes of many
patricians in Venice and the Veneto and jotted down brief notes and
descriptions of the art works he saw.
In 1525 he saw a painting in the home of Taddeo Contarini that he
described as follows:
The canvas picture in oil, representing three Philosophers in a landscape, two of them standing up and the other one seated, and looking up at the light, with the rock so wonderfully imitated, was commenced by Giorgio di Castelfranco and finished by Sebastiano Veneziano. *
This description settled the question of attribution and gave the
painting its current label, but it did not settle the question of subject or
interpretation. Most scholars have accepted Michiel’s identification of the
three men in the painting, and have spent much time and effort trying to
identify which philosophers they might be. Others believe that Michiel’s
identification was mistaken and that the three men are the biblical "three Kings" or “Magi” as they first behold the Star of Bethlehem.
In earlier posts I added my two
cents to the controversy and argued that the colors of the garments of the
three men are symbolic of the gifts of gold, frankincense, and myrrh offered by
the Magi. I know that while gold is almost invariably the color of the eldest
of the Magi, there is a no one color scheme for the other two. However, I would
like to post here another depiction of the Magi attired in gold, red, and
green.
Francia: Adoration of the Magi, c. 1499 Oil on panel, 16x23 inches |
This one is by Francesco Raibolini (c. 1450-1517 Bologna) known simply as Francia to his contemporaries. It is a small "Adoration of the
Magi" from about 1499 that I believe is in the Dresden Gemaldegalerie. Largely
forgotten today, Francia was one of the most famous and respected painters of
the late Quattrocentro. Please excuse the poor quality of the image but it is
clear that the eldest Magi is clothed in gold, the middle-aged one in red, and
the youngest in green. Perhaps Giorgione was not as innovative in this respect
as I originally thought. As I mention in my essay, these colors could have been
worn by the Magi in the frequent plays and processions that Venetians never
seemed to tire of attending.
I also believe that “The Three
Philosophers” was not the only instance in which Giorgione used colors
symbolically to identify his religious figures rather than resorting to stock
symbols. In the so-called “Three Ages of Man” that now hangs in the Pitti
Palace, the colors of the garments of the three men are more than enough to
identify them as Jesus, St. Peter, and the rich young man. St. Peter, in particular, is identified by his bright red robe,
red being the color of martyrdom. Giorgione also used red for the tunic of the
young man in the so-called “Boy with an Arrow.” That color should help to
identify this mysterious figure holding an arrow as the martyr, St. Sebastian.
For convenience I append my original essay on the "Three Philosophers" below.
*The Anonimo, Notes on Pictures and Works of Art in Italy made by an Anonymous Writer in the Sixteenth Century: ed. By George C. Williamson, London, 1903, p. 102.
Giorgione: "Boy with an Arrow". |
For convenience I append my original essay on the "Three Philosophers" below.
*The Anonimo, Notes on Pictures and Works of Art in Italy made by an Anonymous Writer in the Sixteenth Century: ed. By George C. Williamson, London, 1903, p. 102.
Giorgione's "Three Philosophers."
The "Three Philosophers" is one of only a handful
of paintings that scholars definitively attribute to the great Venetian
Renaissance master, Giorgione. It was one of the highlights of the magnificent
exhibition, "Bellini, Giorgione, Titian: The Renaissance in Venetian
Art," which recently ended at the National Gallery in Washington.
At the symposium which ended the exhibition, one scholar
entitled his talk, "The Moment of Giorgione." Another scholar who was
given the task of summing up said that despite the greatness of the works by
Titian and Bellini, the exhibition was all about "Giorgione." What
did they mean?
Besides the universally acknowledged quality of the works
attributed to Giorgione, there is an air of mystery about the painter. His
death in Venice in 1510 at about the age of thirty cut short an incredibly
promising career. Although Giorgio Vasari in his famous work on Renaissance
painters devoted a whole chapter to Giorgione, there is little biographical
data. Scholars think that he apprenticed in the workshop of the prolific
Giovanni Bellini, but then went off on his own. He was either a mentor,
colleague, or rival of the younger Titian who apparently completed some of
Giorgione's unfinished paintings after his untimely death.
Giorgione was one of the first Italians to work with oil, a
medium which enabled him to break new ground especially in landscape. His
style, often called Giorgionesque, influenced Titian to such an extent that
scholars often attribute the same paintings to one or the other, or sometimes
to both. Moreover, there is an enigmatic quality about the works of Giorgione
that is part of his fascination. He is the master of what is called "the
hidden subject."
The "Three Philosophers" is a good example. This
painting depicts three men standing on a hilltop overlooking a beautiful valley
with the sun setting in the West behind a range of mountains. They are dressed
in colorful Oriental robes and face a dark rock formation or cave. They and the
cave are illuminated by another source of light. Who are they and what are they
doing there?
In 1525 Marcantonio Michiel, a Venetian patrician and
connoisseur, catalogued the paintings in the collection of Taddeo Contarini,
another Venetian aristocrat, and described this one as "three philosophers
in a Landscape." Two hundred and fifty years later the painting had found
its way to the Kunsthistorische Museum in Vienna, its current home. In a 1783
catalog it was called, "Three Magi." Since them scholars have debated
whether the men are philosophers, astronomers, surveyors, representatives of
the three ages of man, representatives of three religions, or the Wise Men or
Magi of the Biblical account.
Today, most scholars accept the "philosopher"
interpretation even though they find it difficult to identify which ones.
Indeed, the catalog of the National Gallery exhibition and the audio commentary
dismissed the "Magi" interpretation. Nevertheless, recent findings
suggest that the Magi are making a comeback.
In the catalog of the unprecedented Giorgione exhibition in
2004, a collaboration of the
Kunsthistorische Museum and the Accademia in Venice, one scholar argued
that in this painting Giorgione depicted the Magi not at end of their journey
but at the beginning, that is, when they first saw the Star of Bethlehem.. His
most compelling point had to do with the lighting of the painting. If we look
carefully, we can see the sun setting in the West behind the mountains, but the
three men and the rock formation in the foreground are being illuminated by
another source. According to the medieval legend which Giorgione apparently
followed, the light of the Star which rose in the East was even brighter than
the sun at midday.
Moreover, at the conclusion of the Symposium which ended the
exhibition in the National Gallery another scholar offered a striking piece of
evidence in support of the Magi. The exhibition itself had done an excellent
job of educating the public on the value of using scientific techniques to
evaluate the "underpainting" of some of these Renaissance
masterpieces. X-rays and other techniques show many "pentimenti" or
changes of mind on the part of the artists. When working with oils, the artists
would frequently alter their paintings by painting over the original.
In the original version the old man on the right dressed in
gold is wearing an elaborate headpiece crowned with a kind of solar disk. For
some reason Giorgione decided to discard it in favor of a simple hood.
Nevertheless, when the scholar projected an image on the huge screen of a
painting by Vittore Carpaccio of the arrival of the Magi in Bethlehem, the old
man in that painting was wearing the kind of headpiece discarded by Giorgione.
Perhaps both Carpaccio and Giorgione took their inspiration
from the elaborate public processions honoring the Magi which were common in
the later Medieval world. No where were they more elaborate than in Venice.
More than any other city, Venice was aware of the styles and costumes of the
Orient.
Finally, I believe that there is one more piece of evidence
that so far has eluded scholars but will help to make the case for the Magi.
The most obvious feature in the painting is the brilliant color of the
costumes. In the ancient legend the gifts of the Magi were gold, frankincense,
and myrrh. In the medieval legend, the oldest of the Magi was the bearer of the
gold; the middle aged man carried the myrrh; and the youngest brought the
frankincense. The golden garment of the oldest man needs no explanation. In my
encyclopedia the color of myrrh is a dark red, while the color of frankincense can be white or green, the
colors of the sitting young man.
Could it be that Giorgione hid his subject by making it
obvious? I think it more likely that most Venetians in 1506 would have
certainly seen the Magi in this great masterpiece.
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