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Course: Europe 1300 - 1800 > Unit 4
Lesson 9: Venice- Greek painters in renaissance Venice
- The Renaissance Synagogues of Venice
- Giorgione, The Tempest
- Giorgione, The Tempest
- Giorgione, Three Philosophers
- Giorgione, the Adoration of the Shepherds
- Bellini and Titian, the Feast of the Gods
- Titian, Pastoral Concert
- Titian, Noli me Tangere
- Titian, Assumption of the Virgin
- Titian, Madonna of the Pesaro Family
- Titian, Bacchus and Ariadne
- Titian, Isabella d’Este (Isabella in Black)
- Titian, two portraits of Pietro Aretino
- Titian, Venus of Urbino
- Titian, Venus of Urbino
- Titian's Venus of Urbino
- Titian, Christ Crowned with Thorns
- Titian, Pieta
- Correggio, Jupiter and Io
- Correggio, Assumption of the Virgin
- Veronese, The Family of Darius Before Alexander
- Veronese, the Dream of Saint Helena
- Paolo Veronese. Feast in the House of Levi
- Transcript of the trial of Veronese
- Tintoretto, the Miracle of the Slave
- Tintoretto, The Finding of the Body of Saint Mark
- Tintoretto, the Origin of the Milky Way
- Tintoretto, Last Supper
- Palladio, La Rotonda
- Palladio, Teatro Olimpico
- The Renaissance in Venice in the 1500s
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Giorgione, the Adoration of the Shepherds
Giorgione, The Adoration of the Shepherds, 1505-1510, oil on panel, 90.8 x 110.5 cm / 35 3/4 x 43 1/2 in. (National Gallery of Art, Washington D.C.) Speakers: Dr. Heather Horton and Dr. Mark Trowbridge. Created by Beth Harris and Steven Zucker.
Want to join the conversation?
- Are the two little figures to te left of the standing shepherd important to the painting?
Also,
Are my eyes playing tricks or are there some angels (3:12), two above Mary and Joseph and two above the shepherds?
They seem to be just heads and wings with lines indicating the rest of their bodies.(25 votes) - Is there any particular reason that the baby, Jesus, is lying on the hem of Mary's dress on the rocky ground?(7 votes)
- Maybe indicating humbleness.
Maybe indicating Jesus' sovereignty over the earth. (The ground itself making a bed for Jesus.)
Maybe indicating nothing at all. Just composition.(13 votes)
- Why is mary always in blue?(4 votes)
- As far back as at least ancient Egypt, the color blue was associated with the sky and divinity and believed to protect the dead against evil (hence mummy wrappings were often dyed blue). Greeks and Romans imported Egyptian pigment and used it regularly in decoration; Greeks often cloaked their goddesses in blue. As the eastward brand of Christianity, Greek Orthodoxy, developed and spread, Byzantine churches used dark blue widely, especially in the figures of Christ and Mary. The blue mantles that they wore became associated with them and symbolic of their divinity and this attribute was continued by later artists. Their wearing of divine or sacred blue is also the source of naming of numerous groups and organizations devoted to the service of Christ or Mary.
Even the herb "rosemary" with its blue flowers is so named because Mary reportedly laid her blue cloak upon the white-flowered plant when she was resting, the flowers turned blue and it was afterward know as the "Rose of Mary".(8 votes)
- At3:06the speakers discuss the brilliant orange colour of Joseph's robe and mention that it is a brand new pigment. Does anyone know what this pigment is?(5 votes)
- The pigment is either orpiment, realgar, or a mixture of both. Both are arsenic sulfides and therefore are toxic. You'll also find these pigments in Gorgione's Three Philosophers and Bellini's Feast of the Gods.(5 votes)
- Does anyone else see the cherubs above Mary and Joseph? They kind of freak me out, why aren't they addressed in the video?(5 votes)
- What's up with the little men behind the shepherds?(2 votes)
- They are interns, who are learning how to be shepherds.(7 votes)
- Why are Mary's hands positioned the way they are? Doesn't seem like the normal way hands are positioned in prayer(3 votes)
- Everybody has there on way speaking to god(3 votes)
- What time of day is this supposed to be? I thought the shepherds came in the night.(2 votes)
- The Bible story doesn't say that they came at night. Just that after hearing the story at night, they went to the place. Could have taken a while. Could have been morning by the time they got there. Read all about it in the Gospel according to St Luke, chapters 1-3.(4 votes)
- Jesus was born in the winter, the painting looks spring and the baby is naked laying on the ground, doesn't seem to add up.(0 votes)
- According to the description in the bible, Christ was born when the shepherds were in the fields with their flocks, which would be in the spring.(5 votes)
- A new orange pigment developed by the venetians was mentioned but not named. What was the name of that pigment?(2 votes)
Video transcript
(music) ("In The Sky With
Diamonds" by Scalding Lucy) Heather: We're here at the
National Gallery of Art in Washington D.C. and we're standing in front of this painting by Giorgione. Mark: It depicts the
Adoration of the Shepherds. We see two shepherds in the front kneeling with Joseph and Mary in
front of the Christ child who lays on the ground. Heather: When you think about a scene of the Adoration of the Shepherds, when the shepherds follow this star, this is the moment when
they first recognized Jesus is special. He's divine. That's the moment they're showing here, but we're used to seeing it in
a hierarchical, symmetrical way. Mary and Jesus get private place. Here they're pushed to the right and we've got the shepherds in the center and a full [unintelligible] panel taken up by the landscape. Mark: I think what's
interesting for this picture and what sets the tone for it is its quietness in their amazement. Heather: Their postures are so focused and so meditative. It makes you think of a people in the Renaissance in Venice
who would have looked at this painting and
mimicked that posture. They're both guides and
they're also imitating what's happening outside the picture. Mark: I like that idea
of imitation because we look at the shepherd
with the ragged sleeve, the green bodice ... Heather: Because these
are shepherds, right? Their clothes are torn,
they wear simple shoes. Mark: But look at his
hands and then look at the Virgin Mary's hands
and you can see that he's actually imitating her. [unintelligible] other his other son and the fingers together, so this idea of Venetians emulating the shepherds in the same way the shepherds have emulated the Virgin Mary. I think this makes that
really nice parallel. Heather: And then we've got Joseph who's a little bit off to the
side and that's important because Joseph isn't Jesus' father. That role goes to God. Mark: It's almost like
he also is trying to figure out the hand placement. His thumbs aren't quite together yet, he too, is participating, but at a remove. Heather: That's interesting. It's like they're learning to worship. This is that first moment
when Jesus' divinity is recognized and they're
starting to figure it out. Mark: So why don't we talk
about the background a bit. Heather: Yes, this
gorgeous landscape full of really precise botanical
specimens we've got. Laurel in the foreground
and all sorts of other trees that are precisely rendered. Mark: This sort of the
diffuse evening sunlight that seems to be increasingly
low on the horizon striking the sides of those buildings more than it does the top of the tower under construction because
there's this play between the preciseness of the details
and the sense of atmosphere. Heather: That softness
leads to the serenity so that the setting is perfectly married to the subject of the shepherds. This is where they work. This landscape is their world. You can really see how
Giorgione's a master with oil paint here, especially
in the middle ground. Mark: Especially where
the conduits flashes down and there's that little
lick of white paint that comes up there. I think when we talk
about the advantages of oil paint, one of them is color and if we look at the central group, and we still have to look
at these color harmonies, that green of the kneeling shepherd. Heather: But look at how
the shepherd is in red and blue and white; and then Mary is in red and blue and white. It's another place where we see Giorgione carefully balancing his picture and creating this union
between the holy people and the worshippers. Mark: I think the other
place we can see it is that robe that Joseph is wearing, this spectacular robe
that defies gravity ... Heather: Yes, like a nice edged curve. Mark: Yeah. It's just absolutely
amazing color, that orange. Heather: It shines. Mark: And it's actually
a brand new pigment that was being developed and actually marketed by Venetian oil paint sellers. Heather: When you think about an Adoration of the Shepherds as pendant to a scene where you have
magi, or the three kings, a type of painting that's
full of rich jewels and rich fabrics and all sorts of luxury, this is really something
different, and yet these people have nobility. They have recognized
something special here. (music) ("In The Sky With
Diamonds" by Scalding Lucy)