1. Saint Francis in Ecstasy, 1485. Panel. 48 ½ x 55 inches. Frick Collection, NY. Shows influence of Flemish attention to detail. Saint Francis is enveloped by the landscape Associated with his devotion to nature and the belief of Gods presence in Nature Peaceful animals reinforce nature theme and elude to the garden of Eden. Rocks are linear Saints rustic abode reflects Flemish taste. Distant landscape is Medieval The horizontal disposition of the clouds show influence by Giovanni’s brother-in-law (Andrea Mantegna) Not to be confused with Stigmatization of Saint Francis, by Giotto. The Ecstasy of St. Francis by Giovanni Bellini

2. Gold embroidery of cloak and hat band reflect influence of Flemish painting. Delineates Doge Loredan’s expression by the play of light across facial features. Upright posture convey an impression of a stern character. Unified source of light (use of cubic space) Doges- chairmen of a ruling committee in Venice, and it is lifelong. Doge Leonardo Loredan, 1501. Oil on wood, 24 ¼ x 17 ¾. National Gallery London Giovanni Bellini

3. The Tempest Oil on canvas Made around 1505 Located at the galleria dell’ Academia The figures are connected yet separated. The man looks at the woman, the woman looks at us and the baby looks at the breast The bridge in the background represents the distance between the woman and the man The storm is to enhance the figures tension Giorgione had become an undisputed master of technique and psychology which he expressed in the most advanced style of this time. The Tempest means ‘the storm’ By Giorgione

4. Sleeping Venus Oil on canvas Made around 1509, around the time of his death She is identified as Venus by cupid at her feet which was later painted out but still visible with x-rays. The landscape reflects the woman's position. Her left leg as the hill and her arm breast and shoulder represents the cliffs We see her dreaming of sensual things through the placement of her left hand and the showing of her armpit. (showing the armpit at that time was associated with seduction.) The silver drapery conveys irritation that the calm and relaxed nude does not possess. The sky was finished by Titian after the passing of Giorgione. The use of red and yellow shows this to be true. Giorgione died at the age of thirty-two from the plague. Only a few works are accredited to him due to the lack of signing his work and dying at a young age. Giorgione

5. The Pesaro Madonna by Titian Painted for Venetian church of Santa Maria Gloriosa dei Frari Mary and Christ are off-center Asymmetrical architecture Commissioned by Jacob Pesaro Titian’s patron kneeling before Mary St. Peter kneels between Mary and Titian’s patron St. Peter’s Key is on the step Banner shows Papal and Pesaro coats of arms – soldier and captives alludes to victory in Turkey over the moors Near elimination of landscape typical of Titian Titian 1519-26 Oil on Canvas

6. Titian, Venus of Urbino,1538 ~Nude is awake, being observed while observing~Drapery is arranged in easy rhythms ~Active participant in “seduction” of viewer ~The dog again signifies fidelity and lust ~Venus reclines in a Venetian interior on a bed parallel to the picture plane Two maids remove clothes from a chest in a symmetrical, rectangular room Titian’s is clearly based on Giorgione’s Venus Rich red hair, yellow light, and gradual shading of the body are characteristic of titian The roses and the flower pot on the window are attributes of the goddess

7. Titian Rape of Europa 1559-62 Titian portrays in the style of Venetian artists, with deeply glazed colors and background of purple and gold Scene is erotic by pose, gesture, energetic curves, and diagonals Jupiter plows the sea as a white bull, with Europa on his back Reflects gesture of the reclining nude and “excited protest” Two Cupids in the sky echo her excitement, while a third riding a fish gazes on, riveted at the erotic activity of the adults The fish echoes the Cupid by gazing out of the picture, at the viewer Reflects the Abduction of Europa bell krater Titian’s later work moved into Mannerist style with his loose brushwork

9. Allegory of Prudence by Titian Painted very late in his life “Reflects the preoccupation of his life” (from left to right)Titian, Orazio, Titian’s relative Titian, stands for old age, fierce wolf beneath him Titian and his son stare straight ahead with a self- confidant strength Relative shows innocence of use, mild-mannered dog Titian c. 1570 Oil on Canvas