In my last post I discussed my interpretation of Titian's Pastoral Concert which I originally published in 2013. This post is designed to draw attention to an interpretation of the Fete Champetre or Pastoral Concert published in 1999 by Dr. Christiane Joost- Gaugier. The article, “The mute poetry of the Fete champetre: Titian’s memorial to Giorgione” appeared in the January 1999 issue of the Gazette des Beaux Arts. As the title suggests, Dr. Joost-Gaugier attributed the famous painting to Titian and regarded it as a memorial to the recently deceased Giorgione.
I originally published my interpretation of the painting on my now defunct website, MyGiorgione, in May, 2013. Since then, I have published the full paper it on academia.edu. I believed then and still do that the famous painting that hangs in the Louvre is indeed a homage by the young Titian to Giorgione. Only afterwards did I discover that Dr. Joost-Gaugier had seen the same thing back in 1999. *
Initially, this discovery was embarrassing since I should have found Dr. Joost- Gaugier's interpretation earlier. However, it became somewhat comforting to find that I had come independently to a similar conclusion with someone of her stature, knowledge, and experience. I also found that the technical evidence of the underpainting presented in her article also supported my paper.
Nevertheless, while I agree with much of Dr. Joost-Gaugier's analysis, I do have disagreements with some of the conclusions she drew from her insights. I will explore both the areas of agreement and disagreement in this review article.
In an abstract to her paper Dr. Joost-Gaugier laid out her thesis.
This paper will attempt to propose a new reading of this most unusual, indeed unique, picture which will suggest that it was initiated by Giorgione as a poesia based on an antique theme but incorporating his views about painting and, after his death completed by the grieving young Titian who, inspired by Virgil, turned the painting into a memorial to his beloved master who is portrayed as the center around which the entire composition and subject revolve. It will also suggest that Titian valued this painting as a private painting. (2)
Dr. Joost-Gaugier observed that the focus of the painting, despite the scholarly interest in the two nude women, was the young man in the center clothed in red.
Indeed, the brilliance of his presence makes it clear that he, and not the nude women who have so intrigued former viewers is at the center of the painting…. In contrast to the soft beiges, browns, and olive colors which prevail elsewhere in the painting, the glowing reds of his mantle and hat accentuate the centrality and importance of his presence. (5)
She identified the man in red as Giorgione but saw signs, as I did years later, that he has died.
Contrary to what many observers have assumed, the brilliantly colored young man at the center of the painting is not playing his instrument. Indeed, his instrument has no strings, a fact that has gone unnoticed and which is assured by the evidence of x-rays. Nor does the protagonist of the painting sing. His lips are closed. In fact, his head is averted so as to cause his features to be lost in deep shadow and darkness. From him there is only silence. He is playing but not playing, singing but not singing. He is seen but not seen.
The other young man, dressed in plain, rustic garb would then possibly be Titian.
The suggested identification of the young lutist as Giorgione leads to another possibility. Perhaps his companion—who focuses his respect as well as his energies on the main actor—is a self-portrait of the younger Titian who expresses his devotion in a moment of quiet reverence. (6)
In regard to the two nude women, Dr. Joost-Gaugier differed from earlier scholars who regarded them as wood nymphs or muses invisible to the men. For her, the four figures in the painting are “distinctly human beings.” Moreover, both women are the same.
The same figure is represented from the front…and from the back, suggesting different modes or tempos for the engagement of the beholder. (4)
She then speculated that the woman was actually Giorgione’s lover who also died of the plague, and that Giorgione had originally begun the painting in her memory.
The fact that the two women appear to have been painted from the same model suggests that they may refer to the woman with whom Giorgione had fallen in love shortly before his death. (6)
In summing up Dr. Joost Gaugier believed that while the painting has an Arcadian mood based possibly on an eclogue by Virgil, Giorgione had begun the painting shortly before his own death of the plague as a poetic memorial of his recently deceased lover but that Titian then altered it into a memorial of Giorgione himself.
Taken together, the above observations show that this painting is neither a “Fete Champetre” nor a “Pastoral Concert, nor a (live) concert at all. They suggest rather a funeral motif.
In my paper I also saw that the elegantly dressed man with the lute is Giorgione, and the other more simply dressed man is Titian. I agree that the painting is Titian’s homage to the recently deceased Giorgione.
I agree that the absence of strings on the lute is a sign that Giorgione has died and will play no more. I also agree that Giorgione’s face in shadow is another sign of death. Titian would use it later in a crucifixion scene. I went a little further though in seeing another sign of death in the pouring action of the nude on the left. I see her pouring Giorgione’s spirit into the well.
Moreover, I believe that the dark sky in the background is also a sign of death. I did not mention it in my paper because I could not be certain that the dark sky was original or just the result of aging. Dr. Joost-Gaugier’s examination of the underpainting indicates that the original sky is cloudy and certainly not the appropriate background for a pleasant pastoral idyll.
I agree that the two nude women are one and the same, but I do not believe that they are human. I follow Fehl, Wind, and Egan in this regard but go further and argue that she is Euterpe, the muse of lyric poetry. **
I find it difficult to accept the suggestion that the painting was initially begun by Giorgione as a memorial to his deceased lover, or that the unfortunate woman is depicted in the painting. According to Vasari’s sources, Giorgione died of the plague after contact with his lover. Death for both of them would have been rapid and within days of each other. He would have been in no shape physically or emotionally to commence a tribute to his lover. A recent discovery indicated that Giorgione spent his last days away from his studio in quarantine on an island in the lagoon.
Moreover, if he meant the painting as a tribute to his lover, why would he include Titian in the painting? Why would he have shown the young woman handing her flute to Titian? According to Dr. Joost-Gaugier all the figures in the painting are original. Scientific analysis of the underpainting reveals that only the standing nude was altered.
I can accept the idea that Titian might have kept this painting in his studio for years but that could mean that he revised and retouched it at a later date using paints mixed years later than 1510. Given this fact, I do not believe the scientific evidence firmly establishes a dual authorship.
I do believe that Titian painted in the style of Giorgione as an act of homage to his recently deceased friend. I would also not be surprised if Titian used Giorgione cartoons. I believe that the young Titian acted more as a colorist than a designer on the walls of the Fondaco de Tedeschi with the result that onlookers mistook his work for Giorgione’s.
Rather than an Arcadian poesia in an antique style, I believe that Titian used the biblical story of David and Jonathan to express the depth of his sorrow at Giorgione’s passing. Jonathan was the son and heir of King Saul, and David was a young shepherd boy. They became the closest of friends during Israel’s struggle with the Philistines.
Titian dressed Giorgione in the finery befitting a King’s son while he clothed himself in rustic garb. In my interpretation the shepherd in the mid-ground would then be David’s father left behind with his flocks, and not a typical gamboling Arcadian shepherd.
Renaissance art historians never tire of trying to find sources in ancient literature for paintings whose subjects mystify them. They go to great lengths to show that painters like Giorgione and Titian were familiar with these texts even though there is little evidence that they could even read Latin. For some reason they find it difficult to imagine that the sources of many of these beautiful paintings are in the Bible and the apocryphal legends that embellished the sparse biblical account. ***
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* Joost-Gaugier, Christiane L. The mute poetry of the Fete Champetre: Titian’s memorial to Giorgione. Gazette des Beaux Arts, January 1999, Issue 1560, pp. 1-14. After my initial intuition I discovered that famed art historian S. J. Freedberg had also seen the painting as a homage to Giorgione, and noted that in my paper. S.J. Freedberg, Painting in Italy, 1500-1600, London, 1990, pp. 139-140.
** Euterpe was also seen by Ethanan Motzkin in "The Meaning of Titian’s Concert champetre in the Louvre.” Gazette des Beaux Arts, 116 (1990), pp. 51-66.
*** The late Ross J. Kilpatrick, a classicist, argued that instead of Virgil, the source of the Pastoral Concert could be found in Horace and Propertius. "Horatian Landscape in the Louvre's "Concert Champetre," Artibus et Historiae, Vol. 21, No. 41 (2000), pp. 123-131. He included a discussion of Dr. Joost-Gaugier's interpretation.
