This month marks the fifth anniversary of Giorgione et al... I created the blog at the suggestion of the late Hasan Niyazi, an Australian, whose blog, Three Pipe Problem, was becoming one of the most popular art history sites on the web. Hasan argued that "blogspot" would reach a much wider audience than a website of my own. He was correct and so far Giorgione et al... has attracted over 200000 page views. It is difficult to assess how many of these views represent real interest but it is heartening to see that the site has attracted readers from all over the world.
I originally interpreted the subject of Giorgione's Tempest as "The Rest on the Flight into Egypt" five years earlier back in 2005. In my naivete I sent copies of my interpretation to various institutions, journals, and most of the leading scholars in the field. Only a handful chose to even acknowledge receipt and of those only one offered any criticism. Miraculously, in May of 2006 the Masterpiece column of the Wall Street Journal published a short version of the Tempest interpretation but that was it until 2010.
In that year my paper was accepted by the Renaissance Society of America for its annual conference to be held in Venice in 2010, the five hundredth anniversary of the death of Giorgione. The conference was a large one and there were many panels devoted to Italian Renaissance art, especially the art of the Venetian Renaissance. My paper was included in one of the many panels lumped under the generic title, "Italian Art."
I'd like to say it was a great success but it wasn't. Although most of the leading scholars on the Venetian Renaissance were at the conference, none attended my panel, which also included a presentation by two engineers from Turin on sixteenth century drawings of machines. There were only about 15 people present to hear my revolutionary interpretation. They listened politely and asked a couple of questions. Even the moderator of the panel seemed more interested in the machines.
Fortunately, after the conference in Venice, my wife and I traveled to Rome where we had to extend our stay when the eruption of a volcano in Iceland shut down air travel to and from Italy. As a result, we were able to visit the Borghese Gallery where one look at Titian's "Sacred and Profane Love" convinced me that the women were Mary Magdalen.
On our return to the USA I decided to use the web as a means to get my discoveries out there. I created MyGiorgione for the actual papers and then, thanks to Hasan, Giorgione et al... Today, I reproduce the first post on Giorgione et al...
Below is an abstract of a paper delivered in April, 2010 at the annual meeting of the Renaissance Society of America in Venice. Subsequently, the paper was also delivered at the 2011 annual meeting of the South Central Renaissance Conference in St. Louis. The paper itself can be found on my website, MyGiorgione by using the link on the right.
Giorgione: The Tempest
Abstract:This paper identifies the subject of Giorgione’s "Tempest" as "The Rest on the Flight into Egypt." This interpretation is the only one that identifies all the major elements in the painting. The nude woman nursing an infant is the Madonna. The man standing at the left functioning as an “interlocutor” is St. Joseph with his staff. The broken columns featured so prominently are commonplace in depictions of the rest on the Flight into Egypt. The city in the background is Judea from where the Holy Family has fled but could also be equated with Padua during the Cambrai war. The scraggly plant in the foreground is identified as a “belladonna” a plant associated with witchcraft and the Devil. No other interpretation of this painting has even attempted to identify the plant.
The great difficulties of this interpretation, the “nude Madonna” and the “young” Joseph are dealt with in the paper. The nude Madonna is Giorgione’s idiosyncratic way of depicting the concept of Mary’s Immaculate Conception, a doctrine of great importance at this time, especially in Venice. If the association with the War of Cambrai is correct, this interpretation dates the painting in 1509, a year before Giorgione’s death.
The paper also does discuss the relevance to the “Tempest” of a heretofore misidentified copy by David Teniers of a “lost” Giorgione. This painting is usually identified as “The “Discovery of Paris,” but it is actually Giorgione’s depiction of an apocryphal episode on the Flight of the Holy Family into Egypt which I call "The Encounter with the Robbers on the Flight into Egypt."
David Teniers; Copy of a lost Giorgione
My research on the "Tempest" has led to a number of other discoveries. For example:
1. The Giorgione painting in the Pitti Palace sometimes called the "Three Ages of Man" can now be identified as "The Encounter of Jesus with the Rich Young Man." See the essay on MyGiorgione.
Giorgione: Three Ages of Man
2. A painting attributed to Palma Vecchio that is now in storage in the Philadelphia Museum bears a marked resemblance to the "Tempest," but it has usually been identified simply as "Allegory." This painting is now identified as "the Encounter of the Holy Family with the Infant John the Baptist on the Return from Egypt. See blog post dated November 21, 2010.
Palma Vecchio: Allegory
3. Titian's famous painting the "Sacred and Profane Love" is now identified as "The Conversion of Mary Magdalen." This paper was presented at the annual meeting of the South Central Renaissance Conference held in 2012 in New Orleans. See the full paper at My Giorgione. http://www.giorgionetempesta.com.
Titian: Sacred and Profane Love
4. The "Pastoral Concert" that now hangs in the Louvre has been variously attributed to Giorgione and Titian. Not only do I agree with those who attribute it to Titian but I also believe that it is Titian's "Homage to the Recently Deceased Giorgione." All the Giorgionesque elements in the painting were Titian's way of honoring his deceased friend. For the full paper see MyGiorgione.
Titian: Pastoral Concert
Dr. Francis P. DeStefano holds a PhD in History from Fordham University but he is not associated with any educational institution. Although early in his career he taught History at a university in Fairfield, CT, he left teaching to build a financial planning practice. He retired in 2008 and now devotes himself to writing and lecturing on History, especially Art History.
Dr. DeStefano currently resides in Fairfield, Ct. His email address is firstname.lastname@example.org.