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listen to part of a lecture in an art history class

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to prepare for today\'s class, I asked you to look at a painting from Italy called The Tempest.

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Sometimes it\'s called the storm. That\'s the same thing.

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It was painted in the city of Venice early in the 1500s

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so it\'s an example of Italian art from the Renaissance.

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A definition, please.

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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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So a period of transformation.

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Okay, so what\'s this painting The Tempest all about? Do you think

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it just shows some people in a landscape with lots of rocks and trees,

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and behind them is a river with a bridge across it, and some stone buildings

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and Blue Storm clouds rolling all over the sky with flashes of lightning,

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the oncoming storm

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and the light, you know how the light outside changes when a storm is coming.

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That\'s how it looks in the painting.

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Okay, now let\'s compare this with the other paintings from the Renaissance that you\'ve seen already.

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What are the typical subjects of those paintings?

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Portraits of famous people,

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religious images,

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a commemoration of an important event,

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yes, but this painting doesn\'t clearly refer to anything outside of itself.

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It seems to have come straight out of the artist\'s mind.

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This artist was called Giorgione.

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He\'s known by just the one name.

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Giorgione is a somewhat enigmatic figure.

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His artistic career was brief,

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only about 15 years,

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and we have practically no biographical information about him.

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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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You can see this revolutionary quality and the tempest in a number of ways.

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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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giving nature a starring role, so to speak.

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Giorgione\'s aim seems to be to evoke a certain kind of mood, something poetic and dreamlike.

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In later eras, views of the wilderness or the countryside became a popular subject for Western artists.

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Coupled with that is the display of independence we just noted

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the freedom to make up a scene and to put in anything you want.

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That freedom has been claimed by many artists ever since right down to the present.

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In fact, you can\'t imagine modern art without it. Gagnon,

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then there\'s artistic technique.

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Giorgione was one of the first artists in Venice to use oil paints.

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Oil paints are pigments coloring substances such as powdered minerals that are suspended in oil.

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Depending on how you apply the paint, how many layers, the direction of the brush strokes and so forth,

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you can create wonderful effects by controlling the way the light bounces off the pigments.

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So that\'s why the tempest has that look,

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that feeling like a storm is coming.

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Yes, Giorgione eally knows how to create a sense of drama with his paints,

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and that technique was copied by other Venetian artists.

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So much, in fact,

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that art historians have often had difficulty knowing whether a particular work was done by Giorgione

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or by someone else, or by both of them working collaboratively

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Didn\'t he sign his work?

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Unfortunately, no.

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Not only that, but many of his paintings were made to decorate the homes of individual clients in Venice

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Renaissance painters got commissions to make public artwork,

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say a mural in the city hall that usually resulted in a dated, signed contract

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for these private paintings of giorgiones. There\'s no such documentation.

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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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we finally did discover one more fact about him recently, but even so, it was entirely by accident.

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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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there was an inscription indicating that it had been done by Giorgione

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and noting the date of his death,

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which we didn\'t know before.

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Now, isn\'t that something?

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Who knows what other surprises are waiting in obscure places like this?

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