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第1段
1 .listen to part of a lecture in an art history class
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2 .to prepare for today\'s class, I asked you to look at a painting from Italy called The Tempest.
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3 .Sometimes it\'s called the storm. That\'s the same thing.
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4 .It was painted in the city of Venice early in the 1500s
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5 .so it\'s an example of Italian art from the Renaissance.
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6 .A definition, please.
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7 .The Renaissance is the period from about the 14th through the 16th centuries when the culture of Europe underwent a lot of changes.
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8 .So a period of transformation.
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9 .Okay, so what\'s this painting The Tempest all about? Do you think
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10 .it just shows some people in a landscape with lots of rocks and trees,
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11 .and behind them is a river with a bridge across it, and some stone buildings
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12 .and Blue Storm clouds rolling all over the sky with flashes of lightning,
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13 .the oncoming storm
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14 .and the light, you know how the light outside changes when a storm is coming.
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15 .That\'s how it looks in the painting.
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16 .Okay, now let\'s compare this with the other paintings from the Renaissance that you\'ve seen already.
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17 .What are the typical subjects of those paintings?
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18 .Portraits of famous people,
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19 .religious images,
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20 .a commemoration of an important event,
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21 .yes, but this painting doesn\'t clearly refer to anything outside of itself.
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22 .It seems to have come straight out of the artist\'s mind.
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23 .This artist was called Giorgione.
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24 .He\'s known by just the one name.
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25 .Giorgione is a somewhat enigmatic figure.
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26 .His artistic career was brief,
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27 .only about 15 years,
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28 .and we have practically no biographical information about him.
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29 .What we do know is that he was an innovator who had a powerful influence over both his contemporaries and over future generations of painters.
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30 .You can see this revolutionary quality and the tempest in a number of ways.
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31 .First of all, it\'s one of the earliest paintings in Western art to feature a landscape in such a prominent way,
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32 .giving nature a starring role, so to speak.
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33 .Giorgione\'s aim seems to be to evoke a certain kind of mood, something poetic and dreamlike.
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34 .In later eras, views of the wilderness or the countryside became a popular subject for Western artists.
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35 .Coupled with that is the display of independence we just noted
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36 .the freedom to make up a scene and to put in anything you want.
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37 .That freedom has been claimed by many artists ever since right down to the present.
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38 .In fact, you can\'t imagine modern art without it. Gagnon,
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39 .then there\'s artistic technique.
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40 .Giorgione was one of the first artists in Venice to use oil paints.
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41 .Oil paints are pigments coloring substances such as powdered minerals that are suspended in oil.
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42 .Depending on how you apply the paint, how many layers, the direction of the brush strokes and so forth,
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43 .you can create wonderful effects by controlling the way the light bounces off the pigments.
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44 .So that\'s why the tempest has that look,
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45 .that feeling like a storm is coming.
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46 .Yes, Giorgione eally knows how to create a sense of drama with his paints,
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47 .and that technique was copied by other Venetian artists.
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48 .So much, in fact,
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49 .that art historians have often had difficulty knowing whether a particular work was done by Giorgione
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50 .or by someone else, or by both of them working collaboratively
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51 .Didn\'t he sign his work?
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52 .Unfortunately, no.
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53 .Not only that, but many of his paintings were made to decorate the homes of individual clients in Venice
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54 .Renaissance painters got commissions to make public artwork,
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55 .say a mural in the city hall that usually resulted in a dated, signed contract
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56 .for these private paintings of giorgiones. There\'s no such documentation.
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57 .In fact, as I said, we know practically nothing about his life other than where he was born and where he did his art training,
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58 .we finally did discover one more fact about him recently, but even so, it was entirely by accident.
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59 .A librarian in the rare books department of a university library was examining a 500-year-old book in its collection, and on the very last page, she noticed a sketch of a mother and child,
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60 .there was an inscription indicating that it had been done by Giorgione
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61 .and noting the date of his death,
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62 .which we didn\'t know before.
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63 .Now, isn\'t that something?
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64 .Who knows what other surprises are waiting in obscure places like this?
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