1. This slide presents the work done by the class 3E about the Venetian Renaissance:
With our teacher Maria Chiara Rossi we found some pictures painted by the most important artist of the Renaissance with a particular detail: Oriental influences.
In that period, Venice was a city full of life and it had fruitful relationships with the Orient: in fact, prestigious painters inserted exotic elements among their paintings: they were very influenced by this foreign presence.
We noticed that in these pictures there were lots of Turkish men, represented with white turbans and dark skin, but also carpets.
We want to remark in this way the importance of the relation between Italy and the Oriental states.
We hope that you enjoy!!

2. SOME OF THE MOST IMPORTANT PAINTERS OF THE VENETIAN RENAISSANCE
Lorenzo Lotto
Giorgione
Tiziano Vecellio
Vittore Carpaccio
Tintoretto
Gentile Bellini

3. 1524, olio su tela - S.Pietroburgo, Hermitage Museum
In an other interpretation, the picture would represent a dead woman beside the husband: His pain is incurable and the squirrel, in this case, is sleeping during a sort of emotional storm: like the man, the squirrel is waiting for better times.
The man indicates a little squirrel that has fallen asleep on the table, this would be a symbol of luxury.
The man and the woman represented in this picture are wife and husband.
The two are seated in a room, the woman is holding a small dog, symbol of fidelity.
The table is decorated with a cloth with oriental embroidery.
Ritratto dei coniugi
Lorenzo Lotto
1524, olio su tela - S.Pietroburgo, Hermitage Museum

4. L’elemosina di Sant’Antonino Venezia, Chiesa S.Giovanni e Paolo
Lorenzo Lotto
1542, olio su tela
Venezia, Chiesa S.Giovanni e Paolo
In this painting Sant’Antonino is above all the other characters, sorrounded by angels and cherubins.
Lower, there are two deacons pointed out to the balaustrade, decorated with a colorful oriental carpet with embroideries and frange. The two men are distributing aid to the poor crowd.

5. Bergamo, Chiesa S.Spirito Under the throne, a child: S.Giovanni
Pala di Santo Spirito
Lorenzo Lotto
1521, olio su tela
Bergamo, Chiesa S.Spirito
This altar-piece represents an holy conversation among The Virgin and the saints (from left to right): S.Caterina, S.Agostino, S.Sebastiano e Antonio Abate.
The Virgin sits on a throne, draped with one of the beloved carpets of Lotto.
Under the throne, a child: S.Giovanni

6. Nozze mistiche di S.Caterina
Lorenzo Lotto
1523, olio su tela
Bergamo, Accademia Carrara
This canvas had been painted to pay the annual rent to Niccolò Bonghi.
We can see the Virgin sat down trying to keep Jesus between her arms. Behind her, a man who wears dresses of that period, maybe the owner of the painting, Niccolò Bonghi.
The woman knelt down is S.Caterina involved in a sort of wedding with Jesus and the Faith. An angel on the right is looking at them.
The room is decorated embellished with oriental carpets.

7. Quinto di Treviso, S.Cristina This is the first public work of Lotto.
Pala di S.Cristina
Lorenzo Lotto
, Olio su tavola
Quinto di Treviso, S.Cristina
This is the first public work of Lotto.
It’s an holy conversation: we can find the Virgin with Jesus Christ in the middle, sat on a throne that dominate the whole scene. On the left, S.Caterina with the martyrdom’s wheel. Near her, St Peter with the keys.
On the right, St Liberale waving the flag of Treviso; in his left hand he takes the model of the city, in fact he’s its protector.
The last man is St Gerolamo, dressed with the color of the archbishops. He brings the holy Bible in his hands.
We see a natural landscape and a wall of bricks behind the Saint…The pedestal of the Virgin is decorated with an Oriental Carpet.

8. La crocifissione di Cristo Scuola grade di S.Rocco, Venezia
The painting is very elaborated and we perceive an enigmatic and dark atmosphere, full of references to the Holy Bible and rich in several symbols.
We can notice that the light comes only from the body of Jesus, that lights the scene.
La crocifissione di Cristo
Tintoretto
1565, olio su tela
Scuola grade di S.Rocco, Venezia
In the middle of this canvas there’s Jesus Christ on the cross, sorrounded by the crowd.
Under the cross there’s Maria with other two women, they’re crying for the death of Jesus.

9. Vienna, Kunsthistorisches Museum
Susanna e i vecchioni
Tintoretto
, olio su tela
Vienna, Kunsthistorisches Museum
One of the most wonderful paintings of Tintoretto, dipped in an enigmatic athmospere.
Our attention isn’t concentrated on the two old men that are coming out from the bushes of roses but we are amazed by the luminous body of the young woman, Susanna, that is cleaning herself near the fountain.

10. Nozze di Cana Tintoretto 1563-1563, olio su tela Parigi, Louvre
This is the representation of the first miracle of Jesus: He turns the water in wine. We can see the servitude taking the jars with the water This happens during a wedding in Canaan.
Behind the table with the hosts and on the right there’s a little group of men and women with oriental hat and turbans.
Nozze di Cana
Tintoretto
, olio su tela
Parigi, Louvre

11. Cristo davanti a Pilato Venezia, Scuola Grande di S.Rocco
Tintoretto
, olio su tela
Venezia, Scuola Grande di S.Rocco
We can observe a very known scene: Jesus is in front of Ponzio Pilato and there’s a moltitude of people watching at them. The crowd is waiting for the judgement.
Pilato, the man on the throne, is washing his hands…He doesn’t take care about the happening, this means that he doesn’t want to be involved in the mess and take the responsibility of Jesus’ destiny.

12. Venezia, Galleria dell’Accademia
In the middle of the scene we can see a naked man and a group of people trying to hit him.
He’s a slave, escaped from his master to venerate St. Mark’s relics in Alessandria d’Egitto.
The master have found him and so he’s trying to punish his slave breaking his legs and taking his eyes.
Suddenly, from the sky, appears Saint Mark, came to save the poor slave and stop his cruel execution.
Miracolo di S.Marco
Tintoretto
1548, olio su tela
Venezia, Galleria dell’Accademia

13. Predica di Cristo Tintoretto
In this scene Jesus is on a pulpit and he’s talking to the crowd, gesturing. On the background, near the double lancet windows we can recognize some man with a turban and some woman with an oriental hat.
ca., olio su tela
Venezia, Ca’ Rezzonico

14. Ritratto di Maometto II
Gentile Bellini
, olio su tela
National Gallery, London
This work has been commissioned by the sultan during the diplomatic mission of the artist in Costantinopoli (now called Istanbul.
The Sultan is behind a balaustrade draped with a marvellous carpet.
The three stars near the arch represent the empires of the Sultan.

15. Vergine in trono con bambino Londra, National Gallery
Gentile Bellini
ca. Olio su tela
Londra, National Gallery
This Picture of the Virgin with Jesus is signed by the artist on the basement of the throne “GENTILIS BELLINI” The child is blessing us and he keeps in his left hand a fruit, symbol of his future death. He is naked wich means that he descended on the earth for being like us.

16. La predica di S.Marco ad Alessandria d’Egitto
Gentile Bellini
This work started by Gentile, has been finished after his death by the brother, Giovanni. On the left we can see Saint Mark speaking to the crowd, where we can notice a lot of people with oriental dresses and turbans.
The Islamic architectures remember us the place of Saint Mark, in fact Gentile wanted to represent the relationship that tie the venetian Basilica and the temple built in Alessandria.
olio su tela
Milano, Pinacoteca di Brera

17. Gentile Bellini worked on a lot of representations about the oriental world in fact he travelled until Istanbul for a diplomatic mission between 1479 and

18. Pala di Castelfranco Giorgione 1502, olio su tavola Catelfranco Veneto, duomo
This canvas has been entrusted to Giorgione by Tuzio Costanzo (there’s the blazon of the family painted on the pedestal of the throne).
Maria, sat on the throne with Jesus, looks sad: she perceives the future death of his child.
There’s a contrast between the natural landscape and the parapet where there’s the throne.
The two men are St. Francesco (on the right) and St. Nicasio.
The identification of this last Saint is uncertain, it has been damaged several times by the restorations. He could be St. Giorgio or St. Liberale too.

19. The flag reproduce the blazon of the family, genuflected on the floor.
Pala Pesaro Tiziano 1519, olio su tela Venezia, S.Maria Gloriosa dei Frari
In this Holy conversation, there’s the virgin sorrounded by the Pesaro family, who commissioned this canvas.
On one of the rungs that bring to the Virgin (for the first time, she isn’t in the middle of the painting), we see St Peter, with a blue-yellow dress and the keys.
Behind the throne, St. Francesco with the brown habit. Near him, St. Antonio.
The flag reproduce the blazon of the family, genuflected on the floor.
Two angels, on a cloud, are bringing the cross symbol of the passion of Christ.
On the background there are two columns, symbol of the Virgin and we can see the sky.
On the left, a man wearing a turban: he is prisoner of Jacopo Pesaro who want with this painting remember the victory in battle against the Turkish.

20. Martirio di Sant’Orsola Venezia, Gallerie dell’Accademia
Carpaccio
1493, tempera su tela
Venezia, Gallerie dell’Accademia