Giorgione

For the Italian football team, see A.S.D. Giorgione Venice, having already done similar work on the exte-
Calcio 2000. rior of the Casa Soranzo, the Casa Grimani alli Servi and
other Venetian palaces. Very little of this work survives
Giorgione (/drdione, -ni/, US /drdoni/; Ital- today.
ian: [dordone]; born Giorgio Barbarelli da Castel-
franco; c. 1477/81510[2] ) was an Italian painter of the
Venetian school in the High Renaissance from Venice,
whose career was ended by his death at a little over 30.
Giorgione is known for the elusive poetic quality of his
work, though only about six surviving paintings are ar-
matively acknowledged to be his. The uncertainty sur-
rounding the identity and meaning of his work has made
Giorgione one of the most mysterious gures in European
art.
Together with Titian, who was slightly younger, he
founded the distinctive Venetian school of Italian Re-
naissance painting, which achieves much of its eect
through colour and mood, and is traditionally contrasted
with Florentine painting, which relies on a more linear
disegno-led style.

1 Life

What little is known of Giorgiones life is given in Giorgio

Vasari's Lives of the Most Excellent Painters, Sculptors,
and Architects. The painter came from the small town
of Castelfranco Veneto, 40 km inland from Venice. His
name sometimes appears as Zorzo. The variant Giorgione
(or Zorzon) may be translated Big George. It is un-
clear how early in boyhood he went to Venice, but stylistic
evidence supports the statement of Carlo Ridol that he
served his apprenticeship there under Giovanni Bellini;
there he settled and rose to fame.[3]
Contemporary documents record that his gifts were rec-
ognized early. In 1500, when he was only twenty-three
(that is, if Vasari is correct about his age when he died), he
was chosen to paint portraits of the Doge Agostino Bar-
barigo and the condottiere Consalvo Ferrante. In 1504,
he was commissioned to paint an altarpiece in memory of
another condottiere, Matteo Costanzo, in the cathedral of
his native town, Castelfranco. In 1507, he received, at the
order of the Council of Ten, partial payment for a picture
(subject unknown) in which he was engaged for the Hall
of the Audience in the Doges Palace. From 1507 to 1508
he was employed, with other artists of his generation, to
decorate with frescoes the exterior of the newly rebuilt
Fondaco dei Tedeschi (or German Merchants Hall) at
Laura (1506)
Kunsthistorisches Museum, Vienna, Austria.
Vasari mentions an important event in Giorgiones life,
and one which inuenced his work, his meeting with
Leonardo da Vinci on the occasion of the Tuscan masters
visit to Venice in 1500. All accounts agree in represent-
ing Giorgione as a person of distinguished and romantic
charm, a great lover and a musician, given to express in
his art the sensuous and imaginative grace, touched with
poetic melancholy, of the Venetian existence of his time.
They represent him further as having made in Venetian
painting an advance analogous to that made in Tuscan
painting by Leonardo more than twenty years before; that
is, as having released the art from the last shackles of ar-
chaic rigidity and placed it in possession of full freedom
and the full mastery of its means.
He was very closely associated with Titian; while Vasari
says Giorgione was Titians master, Ridol says that
they both were pupils of Giovanni Bellini, and lived in
his house. They worked together on the Fondaco dei
Tedeschi frescoes, and Titian nished at least some paint-
ings of Giorgione after his death, although which ones

1
2 2 WORKS

remains very controversial.

Giorgione also introduced a new range of subjects. Be-
sides altarpieces and portraits he painted pictures that told
no story, whether biblical or classical, or if they professed
to tell a story, neglected the action and simply embodied
in form and color moods of lyrical or romantic feeling,
much as a musician might embody them in sounds. In-
novating with the courage and felicity of genius, he had
for a time an overwhelming inuence on his contempo-
raries and immediate successors in the Venetian school,
including Titian, Sebastiano del Piombo, Palma il Vec-
chio, il Cariani, Giulio Campagnola (and his brother), and Sleeping Venus (c. 1510)
even on his already eminent master, Giovanni Bellini. In Gemldegalerie Alte Meister, Dresden, Germany.
the Venetian mainland, Giorgionismo strongly inuenced
Morto da Feltre, Domenico Capriolo, and Domenico
Mancini.
delicate color modulations result from the tiny discon-
Giorgione died, probably of the plague then raging, by
nected spots of paint that he probably derived from
October, 1510. He was usually thought to have died and
Illuminated manuscript techniques and rst brought into
been buried on the island of Poveglia in the Ventetian
[4][5][6][7][8] oil painting. These gave Giorgiones works the magical
lagoon, but an archive document published for
glow of light for which they are celebrated.
the rst time in 2011 places his death on the island of
Lazzareto Nuovo; both were used as places of quarantine Most central and typical of all of Giorgiones extant
in times of plague.[9] October 1510 is also the date of works is the Sleeping Venus now in Dresden. It was
a letter by Isabella d'Este to a Venetian friend; asking rst recognized by Giovanni Morelli, and is now univer-
him to buy a painting by Giorgione; the letter shows she sally accepted, as being the same as the picture seen by
was aware he was already dead. Signicantly, the reply Marcantonio Michiel and later by Ridol (his 17th cen-
a month later said the painting was not to be had at any tury biographer) in the Casa Marcello at Venice. An
price. exquisitely pure and severe rhythm of line and contour
chastens the sensuous richness of the painting. The sweep
His name and work continue to exercise a spell on poster-
of white drapery on which the goddess lies; and the glow-
ity. But to identify and dene, among the relics of his age
ing landscape that lls the space behind her; most harmo-
and school, precisely what that work is, and to distinguish
niously frame her divinity. The use of an external land-
it from the similar work of other men whom his inu-
scape to frame a nude is innovative; but in addition, to
ence inspired, is a very dicult matter. Though there are
[10] add to her mystery, she is shrouded in sleep, spirited away
no longer any supporters of the Pan Giorgionismus
from accessibility to any conscious expression.
which a century ago claimed for Giorgione nearly every
painting of the time that at all resembles his manner, there It is recorded by Michiel that Giorgione left this piece un-
are still, as then, exclusive critics who reduce to half a nished and that the landscape, with a Cupid which subse-
dozen the list of extant pictures which they will admit to quent restoration has removed, were completed after his
be actually by this master. death by Titian. The picture is the prototype of Titians
own Venus of Urbino and of many more by other painters
of the school; but none of them attained the fame of the
rst exemplar. The same concept of idealized beauty is
2 Works evoked in a virginally pensive Judith from the Hermitage
Museum, a large painting which exhibits Giorgiones spe-
For his home town of Castelfranco, Giorgione painted cial qualities of color richness and landscape romance,
the Castelfranco Madonna, an altarpiece in sacra con- while demonstrating that life and death are each others
versazione formMadonna enthroned, with saints on companions rather than foes.
either side forming an equilateral triangle. This gave Apart from the altarpiece and the frescoes, all Gior-
the landscape background an importance which marks giones surviving works are small paintings designed for
an innovation in Venetian art, and was quickly followed the wealthy Venetian collector to keep in his home; most
by his master Giovanni Bellini and others.[11] Gior- are under two feet (60 cm) in either dimension. This
gione began to use the very rened chiaroscuro called market had been emerging over the last half of the 15th
sfumatothe delicate use of shades of color to de- century in Italy, and was much better established in the
pict light and perspectivearound the same time as Netherlands, but Giorgione was the rst major Italian
Leonardo. Whether Vasari is correct in saying he learned painter to concentrate his work on it to such an extent
it from Leonardos works is unclearhe is always keen indeed soon after his death the size of paintings began to
to ascribe all advances to Florentine sources. Leonardos increase with the prosperity and palaces of the patrons.
 3

scribably subtle expression of serenity and the immobile

features, added to the chiseled eect of the silhouette and
modeling.[13]
Few of the portraits attributed to Giorgione appear as
straightforward records of the appearance of a commis-
sioning individual, although it is entirely possible that
many are. Many can be read as types designed to express
a mood or atmosphere, and certainly many of the exam-
ples of the portrait tradition Giorgione initiated appear to
have had this purpose, and not to have been sold to the
sitter. The subjects of his non-religious gure paintings
are equally hard to discern. Perhaps the rst question to
ask is whether there was intended to be a specic mean-
ing to these paintings that ingenious research can hope
to recover. Many art historians argue that there is not:
The best evidence, perhaps, that Giorgiones pictures
were not particularly esoteric in their meaning is provided
by the fact that while his stylistic innovations were widely
adopted, the distinguishing feature of virtually all Vene-
tian non-religious painting in the rst half of the 16th cen-
The Tempest (c. 1508) tury is the lack of learned or literary content.[15]
Gallerie dell'Accademia, Venice, Italy.

3 Attributions
The Tempest has been called the rst landscape in the his-
tory of Western painting. The subject of this painting is
unclear, but its artistic mastery is apparent. The Tempest
portrays a soldier and a breast-feeding woman on either
side of a stream, amid a citys rubble and an incoming
storm. The multitude of symbols in The Tempest oer
many interpretations, but none is wholly satisfying. The-
ories that the painting is about duality (city and country,
male and female) have been dismissed since radiography
has shown that in the earlier stages of the painting the
soldier to the left was a seated female nude.[12]
The Three Philosophers is equally enigmatic and its attri-
bution to Giorgione is still disputed. The three gures
stand near a dark empty cave. Sometimes interpreted as
symbols of Platos cave or the Three Magi, they seem lost
in a typical Giorgionesque dreamy mood, reinforced by a
hazy light characteristic of his other landscapes, such as
the Pastoral Concert, now in the Louvre. The latter re- The Three Philosophers, Vienna. Attributed to Giorgione by
veals the Venetians love of textures, because the painter Michiel, who said Sebastiano del Piombo nished it. Some mod-
renders almost palpable the appearance of esh, fabric, ern writers also involve Titian in its completion.
wood, stone, and foliage.[13] The painting is devoid of
harsh contours and its treatment of landscape has been The diculty in making condent attributions of work by
frequently compared to pastoral poetry, hence the title. Giorgiones hand dates from soon after his death, when
Giorgione and the young Titian revolutionized the genre some of his paintings were completed by other artists,
of the portrait as well. It is exceedingly dicult and and his considerable reputation also led to very early er-
sometimes simply impossible to dierentiate Titians roneous claims of attribution. The vast bulk of documen-
early works from those of Giorgione. None of Gior- tation for paintings in this period relates to large commis-
giones paintings are signed and only one bears a reli- sions for Church or government; the small domestic pan-
able date:[14] his portrait of Laura (1 June 1506), one of els that make up the bulk of Giorgiones oeuvre are always
the rst to be painted in the modern manner, distin- far less likely to be recorded. Other artists continued to
guished by dignity, clarity, and sophisticated characteri- work in his style for some years, and probably by the mid-
zation. Even more striking is the Portrait of a Young Man century deliberately deceptive work had started.[16]
now in Berlin, acclaimed by art historians for the inde- Primary documentation for attributions comes from the
4 3 ATTRIBUTIONS
Venetian collector Marcantonio Michiel. In notes dat-
ing from 1525 to 1543 he identies twelve paintings
and one drawing as by Giorgione, of which ve of the
paintings are identied virtually unanimously with sur-
viving works by art historians:[17] The Tempest, The Three
Philosophers, Sleeping Venus, Boy with an Arrow,[18] and
Shepherd with a Flute (not all accept the last as by Gior-
gione however). Michiel describes the Philosophers as
having been completed by Sebastiano del Piombo, and
the Venus as nished by Titian (it is now generally agreed
that Titian did the landscape). Some recent art histori-
ans also involve Titian in the Three Philosophers. The
Tempest is therefore the only one of the group univer-
sally accepted as wholly by Giorgione. In addition, the
Castelfranco Altarpiece in his home-town has rarely, if
ever, been doubted, nor have the wrecked fresco frag-
ments from the German warehouse. The Vienna Laura
is the only work signed and dated by Giorgione (on the
back). The early pair of paintings in the Uzi are usually
accepted.
Pastoral Concert. Louvre, Paris. A work which the museum now
attributes to Titian, c. 1509.[19]
After that, things become more complicated, as exem-
plied by Vasari. In the rst edition of the Vite (1550),
he attributed a Christ Carrying the Cross to Giorgione; in
the second edition completed in 1568 he ascribed author-
ship, variously, to Giorgione in his biography, which was
printed in 1565, and to Titian in his, printed in 1567. He
had visited Venice in between these dates, and may have
obtained dierent information.[20] The uncertainty in dis-
tinguishing between the painting of Giorgione and the
young Titian is most apparent in the case of the Louvre's
Pastoral Concert, described in 2003 as perhaps the most
contentious problem of attribution in the whole of Italian
Renaissance art,[21] but aects a large number of paint-
ings possibly from Giorgiones last years.
The Pastoral Concert is one of a small group of paint-
ings, including the Virgin and Child with Saint Anthony
and Saint Roch in the Prado,[22] which are very close in
style and, according to Charles Hope, have been more
and more frequently given to Titian, not so much be-
cause of any very compelling resemblance to his undis-
puted early workswhich would surely have been noted
beforeas because he seemed a less implausible candi-
date than Giorgione. But no one has been able to create
a coherent sequence of Titians early works that includes
these ones, in a way that commands general support, and
ts the known facts of his career. An alternative pro-
posal is to assign the Pastoral Concert and the other pic-
tures like it to a third artist, the very obscure Domenico
Mancini...[23] While Crowe and Cavalcaselle considered
the Concert from Palazzo Pitti as Giorgiones masterpiece
but disattributed Louvres Pastoral Concert, Lermolie
reinstated the Pastoral Concert and claimed instead that
the Pitti Concert was by Titian.[24]
Giulio Campagnola, well known as the engraver who
translated the Giorgionesque style into prints, but none
of whose paintings are securely identied, is also some-
times also brought into consideration. For example, the
late W.R. Rearick gave him Il Tramonto (see Gallery) and
he is an alternative choice for a number of drawings that
might be by Titian or Giorgione, and both are sometimes
credited with the design of some of his engravings.[25]
The Allendale Nativity/Adoration of the Shepherds c. 1505
National Gallery of Art. The Allendale Group takes its name
from this painting.
At an earlier period in Giorgiones short career, a group
of paintings is sometimes described as the Allendale
group, after the Allendale Nativity (or Allendale Ado-
ration of the Shepherds, rather more correctly) in the
National Gallery of Art, Washington. This group in-
cludes another Washington painting, the Holy Family, and
an Adoration of the Magi predella panel in the National
Gallery, London.[26] This group, now often expanded
to include a very similar Adoration of the Shepherds in
Vienna,[27] and sometimes further, are usually included
(increasingly) or excluded together from Giorgiones oeu-
vre. Ironically, the Allendale Nativity caused the rupture
in the 1930s between Lord Duveen, who sold it to Samuel
Kress as a Giorgione, and his expert Bernard Berenson,
who insisted it was an early Titian. Berenson had played
a signicant part in reducing the Giorgione catalogue,
 5

recognising fewer than twenty paintings.[28]

Matters are further complicated because no drawing can
be certainly identied as by Giorgione (although one in
Rotterdam is widely accepted), and a number of aspects
of the arguments over the dening of Giorgiones late
style involve drawings.
Despite being greatly praised by all contemporary writers,
and remaining a great name in Italy, Giorgione became
less known to the wider world, and many of his (proba-
ble) paintings were assigned to others. The Hermitage Ju-
dith for example, was long regarded as a Raphael, and the
Dresden Venus a Titian. In the late 19th century a great
Giorgione revival began, and the fashion ran the other
way. Despite well over a century of dispute, controversy
remains active. Large numbers of pictures attributed to
Giorgione a century ago, in particular portraits, are now
rmly excluded from his oeuvre, but debate is, if any-
thing, more erce now than then.[29] There are eec-
tively two fronts on which the battles are fought: paint-
ings with gures and landscape, and portraits. According
Young Man with Arrow, (1506)
to David Rosand in 1997, The situation has been thrown
Kunsthistorisches Museum, Vienna
into new critical confusion by Alessandro Ballarins rad-
ical revision of the corpus ...[Paris exhibition catalogue,
1993, increasing it] ... as well as Mauro Lucco ..[Mi- The Judgement of Salomon (15001501) - Oil on
lan book, 1996]. [30] Recent major exhibitions at Vienna panel, 89 x 72 cm, Uzi, Florence
and Venice in 2004 and Washington in 2006, have given
art historians further opportunities to see disputed works Judith (c. 1504) - Oil on canvas, transferred from panel,
side by side (see External links below). 144 x 66,5 cm, Hermitage Museum, St. Petersburg

But the situation remains confused; in 2012 Charles
Hope complained: In fact, there are only three paintings
known today for which there is clear and credible early
evidence that they were by him. Despite this, he is now
generally credited with between twenty and forty paint-
ings. But most of these ... bear no resemblance to the
three just mentioned. Some of them might be by Gior-
gione, but in most cases there is no way of telling.[31]
Adoration of the Shepherds (c. 150510) - Oil
on panel, 90.8 x 110.5 cm, National Gallery of Art,
Washington
Castelfranco Madonna (Madonna and Child En-
throned between St. Francis and St. Nicasius); c.
1505 - Oil on wood, 200 x 152 cm, Duomo, Castelfranco
Veneto

Portrait of a Young Bride (Laura) (c. 1506) Oil on

4 Legacy
Though he died at the age of 32 or 33, Giorgione left
a lasting legacy to be developed by Titian and 17th-
century artists. Giorgione never subordinated line and
colour to architecture, nor an artistic eect to a senti-
mental presentation. He was arguably the rst Italian to
paint landscapes with gures as movable pictures in their
own frames with no devotional, allegorical, or historical
purposeand the rst whose colours possessed that ar-
dent, glowing, and melting intensity which was so soon to
typify the work of all the Venetian School.
wood, 41 x 33,5 cm, Kunsthistorisches Museum, Vienna
The Tempest (c. 1508) - Oil on canvas, 82 x 73 cm,
Accademia, Venice
La Vecchia (Old Woman) (c. 1508) - Oil on canvas,
68 x 59 cm, Accademia, Venice
Pastoral Concert (c. 1509) widely now given to
Titian- Oil on canvas, 110 x 138 cm, Louvre, Paris
Portrait of a Youth (150810) - Oil on canvas, 72,5 x
54 cm, Museum of Fine Arts, Budapest
The Three Philosophers (1509) - Oil on canvas,
Kunsthistorisches Museum, Vienna

5 Selected works Portrait of Warrior with his Equerry (c. 1509) - Oil
on canvas, 90 x 73 cm, Galleria degli Uzi, Florence

The Test of Fire of Moses (15001501) - Oil on panel, Sleeping Venus (c. 1510) - Oil on canvas, 108,5 x 175
89 x 72, Uzi, Florence cm, Gemldegalerie, Dresden
6 6 GALLERY

The Impassioned Singer (c. 1510) - Oil on canvas, 102 reads the paper.
x 78 cm, Galleria Borghese, Rome

Portrait of a Young Man - Wood, 69,4 x 53,5 cm, Alte

Pinakothek, Munich

6 Gallery

Il Tramonto,
London. Little known until the middle of the 20th
century, and still a controversial attribution.

The Castelfranco
Madonna, before recent cleaning. Giorgiones
only altarpiece

The Berlin Portrait of a

Man, one of the most frequently attributed portraits
One of the
Allendale group, the small Adoration of the Magi
predella, London

The San Diego Por-

trait of a Man, another of the more frequently
attributed portraits
Judith, Hermitage Museum.

The Budapest Portrait of

La Vecchia, The Old a Young Man, damaged.
Woman, Accademia. Col tempo, or With age

Portrait of a Vene-
tian Gentleman, by Giorgione and Titian 1510
National Gallery of Art
Portrait of a Young Man,
attributed to Giorgione
7 See also
Renaissance painting
8 Notes
[1] Giorgione (Italian painter)". Britannica.com. Retrieved
2013-05-27.
[2] Gould, 1023. Vasaris 1st edition had the former, his 2nd
the latter. There is no documentary evidence, and Vasari
gets his date of death, which is known, wrong by a year.
[3] Vasari, Giorgio; Conaway Bondanella, Julia; Bondanella,
Peter (1991). The Lives of the Artists. New York: Oxford
University Press. ISBN 978-0-19-953719-8.
[4] Catholic Encyclopedia
[5] Herbert Frederick Cook (1904). Giorgione.
[6] Archivio veneto. 1894.
[7] Romney Fra Angelico, Watteau Raphaels Frescos (1903).
Masters in Arts. p. 446.
[8] Tobias, Michael (1995). A Vision of Nature. p. 130.
ISBN 978-0-87338-483-4.
[9] Press release, 2011, The Burlington Magazine; Three-Pipe
problem; Il Giornale d'Arte (in Italian)
7
[10] An old art historians jibe at Richter, George Martin (1
January 1932). A Clue to Giorgiones Late Style. 60
(348): 123132. JSTOR 865045.
[11] Teresa Pignati in Jane Martineau (ed), The Genius of
Venice, 15001600, pp. 2930, 1983, Royal Academy
of Arts, London.
[12] The Tempest. Web.archive.org. Archived from the
original on 2007-02-09. Retrieved 2013-05-27.
[13] 2006 Britannica. Britannica.com. Retrieved 2013-05-
27.
[14] Brown, D. A., Ferino Pagden, S., Anderson, J., & Berrie,
B. H. (2006). Bellini, Giorgione, Titian, and the Renais-
sance of Venetian painting. Washington: National Gallery
of Art. ISBN 0-300-11677-2 p. 42
[15] Charles Hope in Jane Martineau (ed), The Genius of
Venice, 15001600, 1983, p. 35, Royal Academy of Arts,
London
[16] Cecil Gould, The Sixteenth Century Italian Schools, Na-
tional Gallery Catalogues, London 1975, p. 107, ISBN
0-947645-22-5
[17] EB online. Britannica.com. Retrieved 2013-05-27.
[18] Vienna, illustrated below. Described in 2007 as a rare
example of a painting still universally attributed to Gior-
gione in Lucy Whitaker, Martin Clayton, The Art of
Italy in the Royal Collection; Renaissance and Baroque,
p.185, Royal Collection Publications, 2007, ISBN 978-
1-902163-29-1.
[19] From the Louvre Museum Ocial Website It is often
called the Fte Champtre (meaning Picnic) in older
works.
[20] Charles Hope in David Ja (ed), Titian, The National
Gallery Company/Yale, p.12, London 2003, ISBN 1-
85709-903-6
[21] Charles Hope in David Ja (ed), Titian, The National
Gallery Company/Yale, p.14, London 2003, ISBN 1-
85709-903-6
[22] Listed as Giorgione (?)" in the 1996 Prado catalogue,
which notes the debate, but in 2007 labelled as Titian in
the gallery. See Museo del Prado, Catlogo de las pinturas,
1996, p.129, Ministerio de Educacin y Cultura, Madrid,
No ISBN.
[23] Hope in ed Ja, Titian, 2003, op cit,p.14. Francis
Richardson, who wrote the catalogue entry for the Prado
painting (no. 34) in: Jane Martineau (ed), The Genius
of Venice, 15001600, 1983, Royal Academy of Arts,
London, after considering Mancini, is one of those happy
to attribute the painting to Titian. The Mancini sugges-
tion comes originally from a German article of 1933 by J.
Wilde: 'Die Probleme um Domenico Mancini', JKSW
[24] Uglow, Luke (2014). Giovanni Morelli and his friend
Giorgione: connoisseurship, science and irony. Journal
of art historiography. 11.
8 11 EXTERNAL LINKS

[25] John Dixon Hunt (ed), The Pastoral Landscape, National 11 External links
Gallery of Art, Washington, 1992, pp 1467, ISBN 0-
89468-181-8 Video: Giorgione and the problem of attribution,
[26] NGA 2006 exhibition brochure, page 4 Archived October by Charles Hope, London Review of Books, 2016
12, 2012, at the Wayback Machine.
Tour: Giorgione and the High Renaissance in
[27] Kunthistoriches Museum 2004 exhibition website Venice, National Gallery of Art, Washington, DC
Archived March 25, 2005, at the Wayback Machine.
Giorgione featured on 10 Euro Coin
[28] his works...not a score in all in Italian Painters of the
Renaissance, 1952, (many editions). By the last (1957)
edition of his Lists, Berenson had changed his mind and
listed all the three main Allendale works as by Gior-
gione see Gould op cit p.105.
[29] See the Art Journal review of a major 1993 Paris exhibi-
tion, which lists some Ballarin additions to the corpus by
Wendy Stedman Sheard
[30] David Rosand, Painting in Sixteenth-Century Venice, 2nd
edn. 1997, p. 186, n. 74; Cambridge University Press,
ISBN 0-521-56568-5 For some Ballarin attributions, see
previous note.
[31] Hope, Charles (24 May 2012). At the National Gallery.
London Review of Books. 34 (10): 22. Retrieved 28
November 2012.

9 References
This article incorporates text from a publication now
in the public domain: Chisholm, Hugh, ed. (1911).
"Giorgione". Encyclopdia Britannica. 12 (11th
ed.). Cambridge University Press. pp. 3133.
Gould, Cecil, The Sixteenth Century Italian Schools,
National Gallery Catalogues, London 1975, ISBN
0-947645-22-5
Encyclopedia of Artists, volume 2, edited by William
H.T. Vaughan, ISBN 0-19-521572-9, 2000

10 Further reading
The Complete Paintings of Giorgione. Introduction
by Cecil Gould. Notes by Pietro Zampetti. NY:
Harry N. Abrams. 1968.
Giorgione. Atti del Convegno internazionale di studio
per il quinto centenario della nascita (Castelfranco
Veneto 1978), Castelfranco Veneto, 1979.
Silvia Ferino-Pagden, Giorgione. Mythos und
Enigma, Ausst. Kat. Kunsthistorisches Museum
Wien, Wien, 2004.
Sylvia Ferino-Pagden (Hg.), Giorgione entmythisiert,
Turnhout, Brepols, 2008.
Unglaub, Jonathan. The Concert Champtre: The
Crises of History and the Limits of the Pastoral.
Arion V no.1 (1997): 4696.
 9

12 Text and image sources, contributors, and licenses

12.1 Text
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Armeria, Chris the speller, Mona, CARAVAGGISTI, GoodDay, Jwy, Wizardman, Bobjuch, DelDav, Ceoil, SashatoBot, Ser Amantio di
Nicolao, Sailko, Comicist, Sifaka, Jodpurr, Sophruhig Vita@comcast.net, Ewulp, Ghaly, Oriettaxx, Boofox, Drinibot, Badseed, Cydebot,
Jai Raj, Biruitorul, Massimo Macconi, Gossamers, Gef756, Modernist, Storkk, JAnDbot, Fetchcomms, .anacondabot, VoABot II, Tony-
Sever, JNW, Waacstats, WODUP, CliC, R'n'B, CommonsDelinker, Tikiwont, Johnbod, Gradiva, Raggatt2000, Gdamasceno, Master
shepherd, Idioma-bot, VolkovBot, Leeearnest~enwiki, Justin.rykowski, Rei-bot, Raaeleserani, JhsBot, BotKung, VVVBot, Twirling,
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tersandnumbers, Raymond Ellis, HazelAB, COEDIZIONI, WikiPuppies, Helpful Pixie Bot, JeBonSer, Rococo1700, Smintheus Fellin,
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KasparBot, IvanScrooge98, GreenC bot, Irenez2017 and Anonymous: 68

12.2 Images
File:Col_tempo_by_Giorgione.jpg Source: https://upload.wikimedia.org/wikipedia/commons/0/0d/Col_tempo_by_Giorgione.jpg Li-
cense: CC BY-SA 4.0 Contributors: Own work Original artist: Didier Descouens
File:Commons-logo.svg Source: https://upload.wikimedia.org/wikipedia/en/4/4a/Commons-logo.svg License: PD Contributors: ? Origi-
nal artist: ?
File:Fiesta_campestre.jpg Source: https://upload.wikimedia.org/wikipedia/commons/6/61/Fiesta_campestre.jpg License: Public do-
main Contributors: [1] ([2]) Original artist: Giorgione
File:Giorgione,_Portrait_of_a_Young_Man_2.jpg Source: https://upload.wikimedia.org/wikipedia/commons/4/4f/Giorgione%2C_
Portrait_of_a_Young_Man_2.jpg License: Public domain Contributors: Web Gallery of Art: <a href='http://www.wga.hu/art/g/giorgion/
portrait/09young.jpg' data-x-rel='nofollow'><img alt='Inkscape.svg' src='https://upload.wikimedia.org/wikipedia/commons/thumb/6/
6f/Inkscape.svg/20px-Inkscape.svg.png' width='20' height='20' srcset='https://upload.wikimedia.org/wikipedia/commons/thumb/6/6f/
Inkscape.svg/30px-Inkscape.svg.png 1.5x, https://upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/40px-Inkscape.
svg.png 2x' data-le-width='60' data-le-height='60' /></a> Image <a href='http://www.wga.hu/html/g/giorgion/portrait/09young.html'
data-x-rel='nofollow'><img alt='Information icon.svg' src='https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_
icon.svg/20px-Information_icon.svg.png' width='20' height='20' srcset='https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/
Information_icon.svg/30px-Information_icon.svg.png 1.5x, https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_
icon.svg/40px-Information_icon.svg.png 2x' data-le-width='620' data-le-height='620' /></a> Info about artwork Original artist: At-
tributed to Sebastiano del Piombo
File:Giorgione_-_Judith.jpg Source: https://upload.wikimedia.org/wikipedia/commons/7/78/Giorgione_-_Judith.jpg License: Public
domain Contributors: Livre de Stefano G. Casu, Elena Franchi et Andrea Franci : Les Grands Matres de la peinture europenne, Paris
: Hazan, 2003. ISBN 2850259063 Original artist: Giorgione
File:Giorgione_-_Portrait_of_a_young_man_-_Gemldegalerie,_Berlin.jpg Source: https://upload.wikimedia.org/wikipedia/
commons/b/b4/Giorgione_-_Portrait_of_a_young_man_-_Gem%C3%A4ldegalerie%2C_Berlin.jpg License: Public domain Contribu-
tors: Own work Original artist: Giorgione
File:Giorgione_-_Sleeping_Venus_-_Google_Art_Project_2.jpg Source: https://upload.wikimedia.org/wikipedia/commons/8/86/
Giorgione_-_Sleeping_Venus_-_Google_Art_Project_2.jpg License: Public domain Contributors: Google Art Project: Home pic Maxi-
mum resolution. Original artist: Giorgione
File:Giorgione_-_Young_Woman_(Laura)_-_Google_Art_Project.jpg Source: https://upload.wikimedia.org/wikipedia/
commons/6/6d/Giorgione_-_Young_Woman_%28%E2%80%9CLaura%E2%80%9D%29_-_Google_Art_Project.jpg License: Public
domain Contributors: 2AHcYc7WLAap-g at Google Cultural Institute maximum zoom level Original artist: Giorgione
File:Giorgione_001.jpg Source: https://upload.wikimedia.org/wikipedia/commons/3/36/Giorgione_-_Pala_di_Castelfranco.jpg Li-
cense: Public domain Contributors: The Yorck Project: 10.000 Meisterwerke der Malerei. DVD-ROM, 2002. ISBN 3936122202. Dis-
tributed by DIRECTMEDIA Publishing GmbH. Original artist: Giorgione
File:Giorgione_010.jpg Source: https://upload.wikimedia.org/wikipedia/commons/c/ca/Giorgione_010.jpg License: Public domain Con-
tributors: The Yorck Project: 10.000 Meisterwerke der Malerei. DVD-ROM, 2002. ISBN 3936122202. Distributed by DIRECTMEDIA
Publishing GmbH. Original artist: Giorgione
File:Giorgione_019.jpg Source: https://upload.wikimedia.org/wikipedia/commons/8/8f/Giorgione_019.jpg License: Public domain Con-
tributors: Internet Original artist: Giorgione
File:Giorgione_029b.jpg Source: https://upload.wikimedia.org/wikipedia/commons/7/79/Giorgione_029b.jpg License: Public domain
Contributors: 1. Bilddatenbank KHM
Original artist: Giorgione
File:Giorgione_042.jpg Source: https://upload.wikimedia.org/wikipedia/commons/2/2b/Giorgione_042.jpg License: Public domain
Contributors: The Yorck Project: 10.000 Meisterwerke der Malerei. DVD-ROM, 2002. ISBN 3936122202. Distributed by DIRECT-
MEDIA Publishing GmbH. Original artist: Giorgione
10 12 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

File:Giorgione_059.jpg Source: https://upload.wikimedia.org/wikipedia/commons/4/4c/Giorgione_059.jpg License: Public domain

Contributors: The Yorck Project: 10.000 Meisterwerke der Malerei. DVD-ROM, 2002. ISBN 3936122202. Distributed by
DIRECTMEDIA Publishing GmbH. Original artist: Giorgione
File:Giorgione_060.jpg Source: https://upload.wikimedia.org/wikipedia/commons/6/63/Giorgione_060.jpg License: Public domain
Contributors: [1] Original artist: Giorgione
File:Giorgione_Budapest_01.jpg Source: https://upload.wikimedia.org/wikipedia/commons/6/61/Giorgione_Budapest_01.jpg License:
Public domain Contributors: museum Original artist: Giorgione
File:Palma_il_Vecchio_003.jpg Source: https://upload.wikimedia.org/wikipedia/commons/0/01/Palma_il_Vecchio_003.jpg License:
Public domain Contributors: The Yorck Project: 10.000 Meisterwerke der Malerei. DVD-ROM, 2002. ISBN 3936122202. Distributed by
DIRECTMEDIA Publishing GmbH. Original artist: Giorgione
File:Portrait_of_a_Venetian_Gentleman_-_Giorgione_and_Tizian_1510_NG_Wash_DC.jpg Source: https://upload.wikimedia.
org/wikipedia/en/c/c6/Portrait_of_a_Venetian_Gentleman_-_Giorgione_and_Tizian_1510_NG_Wash_DC.jpg License: PD Contribu-
tors: ? Original artist: ?
File:The_Adoration_of_the_Shepherds_-_Giorgione_-_1505_NG_Wash_DC.jpg Source: https://upload.wikimedia.org/wikipedia/
en/3/38/The_Adoration_of_the_Shepherds_-_Giorgione_-_1505_NG_Wash_DC.jpg License: PD Contributors: ? Original artist: ?

12.3 Content license

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