Judith (1504) (Oil on canvas  trasferred from panel  144 x 68 cm) is in the The Hermitage  St. Petersburg. An early painting of the artist. In the 17-18th century it was attributed to Raphael  later to Moretto da Brescia. Originally it was probably a panel of an altarpiece.

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The altar-piece  called the Castelfranco Madonna  was in all probability commissioned by the Condottiere Tuzio Costanzo in memory of his son Matteo  who died in 1504: the Costanzo coat of arms can be seen on the base of the Virgin s throne. It can almost certainly be dated to 1505. Although it is not signed  the authorship is made indisputable by Giorgione s individual technique in laying on delicately shaded coats of paint without any underlying scaffolding from a drawing. The traditional scheme of composition is lightened by the novel use of such elements as the throne and the landscape  which takes up a good portion of the background. This smallish altarpiece echoes the artistic approach developed by Giovanni Bellini  who was probably one of Giorgione s teachers. Giorgione softens both the atmosphere surrounding the figures and that in the space before the viewer. This atmospheric veil has a palpable analogy with the methods of Leonardo da Vinci  who was known to have been in Venice in 1500 and it is possible that Giorgione had seen some works by the Florentine genius. Yet the figural proportions and the lacy landscape speak to a fully personal Giorgionesque idiom.

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Oil Painting Adoration of the Shepherds from Giorgione (Giorgio Barbarelli) - Buy hand painted oil reproduction

The Adoration of the Shepherds or the Allendale Nativity  as it is commonly known after one of the previous owners  is now generally accepted as by Giorgione. However  the debate on its attribution continues  with Bellini and the young Titian considered as possible authors. It is assumed by some critics that the landscape was painted by Titian. This important work had an immediate impact on Venetian painting. The composition is divided into two parts  the dark cave on the right and a luminous Venetian landscape on the left. The shimmering draperies of Joseph and Mary are set off by the darkness behind them  and are also contrasted with the tattered dress of the shepherds. The scene is one of intense meditation  the rustic shepherds are the first to recognize Christ s divinity and they kneel accordingly. Mary and Joseph also participate in the adoration  creating an atmosphere of intimacy.

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Oil Painting Adoration of the Magi from Giorgione (Giorgio Barbarelli) - Buy hand painted oil reproduction

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Oil Painting A Young Man from Giorgione (Giorgio Barbarelli) - Buy hand painted oil reproduction

In portraiture  as in other areas of painting  the tradition established by Bellini was transformed in the first decade of the sixteenth century by Giorgione. In contrast to the reserved formality of most fifteenth-century portraits  Giorgione introduced a new quality of soulfulness and intimacy into portraiture. He also expanded its expressive range by introducing motifs and compositional devices associated with other types of picture  so that in some cases it becomes difficult to decide whether or not a portrait-like image is meant to represent a real person. His younger contemporaries continued to explore the possibilities that he opened up for portraiture and related images for at least a decade after his death. The colours of this brilliant portrait are unfortunately faded due to an overcleaning before 1939.

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Oil Painting Judith From Giorgione - Giorgio Barbarelli - Buy Hand Painted Oil Reproduction

Judith (1504) (Oil on canvas trasferred from panel 144 x 68 cm) is in the The Hermitage St. Petersburg. An early painting of the artist. In the 17-18th century it was attributed to Raphael later to Moretto da Brescia. Originally it was probably a panel of an altarpiece.

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Oil Painting Portrait Of A Young Woman (Laura) From Giorgione - Giorgio Barbarelli - Buy Hand Painted Oil Reproduction

This painting has been altered over the centuries first transposed into an oval picture and then restored back to a rectangular one. Originally the figure extended below the waist and there was more space above. The effect was one of much less immediacy for the viewer than is the case today in its cut-down version and was more in keeping with the remoteness of Giorgione s images as we know them. Like all of Giorgione s pictures enigmatic aspects persist the subject is unspecific although the artistic intention is the presentation of the surface beauty the soft flesh juxtaposed against the fur of the luxurious garment the dark eyes shining and alert the thin veil enticingly but gently winding around the exposed breast. The laurel branches which give their name to the figure are painted with considerable realism and permit the head to be silhouetted before a neutral gray-green halo of leaves isolated from the deep-toned background not unlike Leonardo s Ginevra de Benci. Leonardo s influence has often been noted in Giorgione s art most particularly in the softening of the contours.

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