There is a painting, identified as Allegory, in the Philadelphia Museum of Art that bears a striking resemblance to Giorgione’s Tempest, even though there is no trace of a storm.
Edgar Wind, who identified the subject of the Tempest as “Fortezza e Carita,” pointed out the resemblance in his 1969 study, "Giorgione’s Tempesta."
In the Philadelphia Museum website the painting is given the title “Allegory,” and is attributed to “a follower of Palma il Vecchio.” It is dated 1510. It is not currently on view. Upon request a curator at the Museum very kindly allowed my wife and I to view this spectacular painting a few years ago. It is a very large canvas, much larger than the Tempest, and despite the need for restoration it is still a beautiful painting.
I believe that this painting is a version of the “Rest on the Flight into Egypt.” The man is St. Joseph, dressed as a young Venetian patrician, standing watch over the Madonna who is seated on the left. The two children are the Christ child and John the Baptist, who is also identified by the lamb in the background. John is often introduced into the Flight into Egypt legend when he meets the Holy Family in the desert on their return.
The other painting mentioned by Wind is now on loan to the Fogg Art Museum. Attributed by Wind to a “Follower” of Giorgione, there are three figures in a landscape. In the foreground a fully clothed plainly dressed woman sits on the ground with her infant son standing beside her supported by her arm. She is left of center and looks to the right in the direction of an armored soldier standing guard. He leans not on a staff but on a formidable looking halberd. For Wind the subject of the painting was an allegory, “Fortezza and Carita,” the same subject he claimed for the Tempesta.
This painting also should be recognized as "The Rest on the Flight into Egypt." The only objections would be the plainly dressed Madonna and the armed virile Joseph.
In each painting Joseph’s staff has become a halbred, the weapon of choice of the famed Swiss soldiers who had been introduced into Italy a few years earlier by Pope Julius II. Why is Joseph now being presented as a heavily armed and armored protector of the Madonna and Child? Perhaps the Cambrai war required Joseph to take on a more martial aspect. It seems that it would be easier to answer that question than to try to fit these two paintings, which bear a striking resemblance to the Tempest, into an "allegorical " interpretation.
Another question arises about the plainness of the woman's attire in each painting. It is so plain that viewers have argued that the women are gypsies. When Marcantonio Michiel, a Venetian patrician and art collector, saw the painting in 1530 in the home of patrician Gabriele Vendramin, he described it as "the little landscape on canvas, representing stormy weather and a gipsy woman with a soldier..."*
Of course the woman in the Tempest is nude but in the twenty years following Giorgione's death in 1510, paintings like the two discussed above might have led to Michiel's faulty description. I have discussed the gipsy hypothesis in an earlier post and will update that discussion in my next post.
*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. 123.
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Note: I include here a reply to a comment I received on this post on 1/7/2020 from Rebecca. I have altered the wording in response to her suggestions but I still believe that both paintings are depictions of the Holy Family. For some reason, I am not able to reply to her comment below but place it here;
Thank you for your comments. You are correct in objecting to my use of the word “obvious” since if it was obvious, others would have seen the Rest or Riposo in the painting before me. I will amend the text to be more precise. Still, I believe it correct to see these paintings as versions of the Rest. I have done a number of posts on the Rest in which I have shown that artists during the Renaissance were eliminating or downplaying the traditional elements you mention. You can find these posts by using the search box or clicking on the labels at the right of the blog.
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| Palma Vecchio: Allegory |
This subject. Fortezza e Carita, was trivialized, inevitably, by some of Giorgione’s disciples. A Giorgionesque painting in the collection of the Marquess of Northampton and a painting by Palma Vecchio in the Philadelphia Museum omit the ominous character of the storm-swept landscape but retain the easy contrast between a soldier leaning on his lance and a woman seated on the ground, with a child or two. (p. 3)In a footnote, Wind elaborated.
In Palma Vecchio’s tame conversation piece, which might be called ‘The Peaceable Warrior (ex bello pax)’, the children play like Eros and Anteros, whose mythological parents were Mars and Venus....The lethargic guardsman in this picture is a surprisingly weak invention, particularly if compared with the fine paraphrase of Giorgione's soldier in the altarpiece for Santo Stefano in Vicenza... (p, 21, n.13).
In the Philadelphia Museum website the painting is given the title “Allegory,” and is attributed to “a follower of Palma il Vecchio.” It is dated 1510. It is not currently on view. Upon request a curator at the Museum very kindly allowed my wife and I to view this spectacular painting a few years ago. It is a very large canvas, much larger than the Tempest, and despite the need for restoration it is still a beautiful painting.
I believe that this painting is a version of the “Rest on the Flight into Egypt.” The man is St. Joseph, dressed as a young Venetian patrician, standing watch over the Madonna who is seated on the left. The two children are the Christ child and John the Baptist, who is also identified by the lamb in the background. John is often introduced into the Flight into Egypt legend when he meets the Holy Family in the desert on their return.
The other painting mentioned by Wind is now on loan to the Fogg Art Museum. Attributed by Wind to a “Follower” of Giorgione, there are three figures in a landscape. In the foreground a fully clothed plainly dressed woman sits on the ground with her infant son standing beside her supported by her arm. She is left of center and looks to the right in the direction of an armored soldier standing guard. He leans not on a staff but on a formidable looking halberd. For Wind the subject of the painting was an allegory, “Fortezza and Carita,” the same subject he claimed for the Tempesta.
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| Follower of Giorgione: Rustic Idyll |
In each painting Joseph’s staff has become a halbred, the weapon of choice of the famed Swiss soldiers who had been introduced into Italy a few years earlier by Pope Julius II. Why is Joseph now being presented as a heavily armed and armored protector of the Madonna and Child? Perhaps the Cambrai war required Joseph to take on a more martial aspect. It seems that it would be easier to answer that question than to try to fit these two paintings, which bear a striking resemblance to the Tempest, into an "allegorical " interpretation.
Another question arises about the plainness of the woman's attire in each painting. It is so plain that viewers have argued that the women are gypsies. When Marcantonio Michiel, a Venetian patrician and art collector, saw the painting in 1530 in the home of patrician Gabriele Vendramin, he described it as "the little landscape on canvas, representing stormy weather and a gipsy woman with a soldier..."*
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| Giorgione Tempest |
Of course the woman in the Tempest is nude but in the twenty years following Giorgione's death in 1510, paintings like the two discussed above might have led to Michiel's faulty description. I have discussed the gipsy hypothesis in an earlier post and will update that discussion in my next post.
*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. 123.
###
Note: I include here a reply to a comment I received on this post on 1/7/2020 from Rebecca. I have altered the wording in response to her suggestions but I still believe that both paintings are depictions of the Holy Family. For some reason, I am not able to reply to her comment below but place it here;
Thank you for your comments. You are correct in objecting to my use of the word “obvious” since if it was obvious, others would have seen the Rest or Riposo in the painting before me. I will amend the text to be more precise. Still, I believe it correct to see these paintings as versions of the Rest. I have done a number of posts on the Rest in which I have shown that artists during the Renaissance were eliminating or downplaying the traditional elements you mention. You can find these posts by using the search box or clicking on the labels at the right of the blog.
In particular, in my interpretation of the Tempest I have an extended discussion of the reasons why artists like Giorgione could depict Joseph as a young, vigorous man. You can access the paper by clicking on the link in the “discoveries” section on the right side of the blog.
In thinking about it, I would agree with you that the painting in the Fogg could not be an altarpiece. Thanks very much.
Frank
I'm sorry, but it does not "seem obvious that this painting is a version of the “Rest on the Flight into Egypt.”" If it were obvious, there would be a donkey. Joseph would have a gray beard, and Mary would be wearing red and blue, with a white scarf over her hair, as she does in every other painting of the Madonna by Palma Vecchio (OK, in the Rovigo painting the headscarf is yellow). I think it is fine to argue that these mysterious paintings have the rest on the flight as one of their underlying themes, but I object to the idea that the theme is obvious. There was well-established iconography for the flight into Egypt which these works eschew. If that is their meaning, it is deliberately obfuscated. A humanist game?
ReplyDeleteAlso, you seem to be saying that the Fogg painting was originally an altarpiece? It is less than 20" high, not nearly large enough to have been an altarpiece. Perhaps you mean the much larger Philadelphia painting?