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72-451: According to Alfred Stange, Albrecht Altdorfer and Wolf Huber were two of the central most figures within the Danube school. Altdofer was the artist that created most of the artworks associated with the Danube school. The term "Danube school" was most likely not what these groups of artist called themselves but a name that derived hundreds of years after a man by the name of Theodore von Frimmel

144-638: A Cupid which subsequent restoration has removed, were completed after his death by Titian. The picture is the prototype of Titian's own Venus of Urbino and of many more by other painters of the school; but none of them attained the fame of the first exemplar. The same concept of idealized beauty is evoked in a virginally pensive Judith from the Hermitage Museum , a large painting which exhibits Giorgione's special qualities of color richness and landscape romance, while demonstrating that life and death are each other's companions rather than foes. Apart from

216-453: A chariot. The opposing armies are distinguished by the colors of their uniforms: Darius' army in red and Alexander's in blue. The upper half of The Battle of Alexander expands with unreal rapidity into an arcing panorama comprehending vast coiling tracts of globe and sky. The victory also lies on the planar surface; The sun outshone the moon just as the Imperial and allied army successfully repel

288-474: A less implausible candidate than Giorgione. But no one has been able to create a coherent sequence of Titian's early works that includes these ones, in a way that commands general support, and fits the known facts of his career. An alternative proposal is to assign the Pastoral Concert and the other pictures like it to a third artist, the very obscure Domenico Mancini." While Crowe and Cavalcaselle considered

360-446: A mood or atmosphere, and certainly many of the examples 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 figure paintings are equally hard to discern. Perhaps the first question to ask is whether there was intended to be a specific meaning to these paintings that ingenious research can hope to recover. Many art historians argue that there

432-471: A mountain landscape. However most of his best prints are etchings , many of landscapes; in these he was able most easily to use his drawing style. He was one of the most successful early etchers, and was unusual for his generation of German printmakers in doing no book illustrations. He often combined etching and engraving techniques in a single plate, and produced about 122 intaglio prints altogether. Many of Altdorfer's prints are quite small in size, and he

504-460: A new range of subjects. Besides 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. Innovating with the courage and felicity of genius, he had for a time an overwhelming influence on his contemporaries and immediate successors in

576-423: A rising or setting sun. His Landscape with Footbridge ( National Gallery, London ) of 1518–1520 is claimed to be the first pure landscape in oil. In this painting, Altdorfer places a large tree that is cut off by the margins at the center of the landscape, making it the central axis and focus within the piece. Some viewers perceive anthropomorphic stylisation—the tree supposedly exhibiting human qualities such as

648-551: A slaughterhouse and a building for wine storage, possibly even designing them. He was considered to be an outstanding politician of his day. In 1517 he was a member of the "Ausseren Rates", the council on external affairs, and in this capacity was involved in the expulsion of the Jews, the destruction of the synagogue and in its place the construction of a church and shrine to the Schöne Maria that occurred in 1519. Altdorfer made etchings of

720-463: A type that was to become a cliché in later centuries. Altdorfer was a significant printmaker , with numerous engravings and about ninety-three woodcuts . These included some for the Triumphs of Maximilian , where he followed the overall style presumably set by Hans Burgkmair , although he was able to escape somewhat from this in his depictions of the more disorderly baggage-train, still coming through

792-525: A very high viewpoint, which looks south over the whole Mediterranean from modern Turkey to include the island of Cyprus and the mouths of the Nile and the Red Sea (behind the isthmus to the left) on the other side. However his style here is a development of that of a number of miniatures of battle-scenes he had done much earlier for Maximilian I in his illuminated manuscript Triumphal Procession in 1512–14. It

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864-597: Is a result from Altdorfer's mature years capturing the Danube landscapes. Other members included: Lucas Cranach the Elder had a major influence on the Danube school and is occasionally considered a member of the group. Albrecht Altdorfer Albrecht Altdorfer ( c.  1480 —12 February 1538) was a German painter, engraver and architect of the Renaissance working in Regensburg , Bavaria . Along with Lucas Cranach

936-399: Is always keen to ascribe all advances to Florentine sources. Leonardo's delicate color modulations result from the tiny disconnected spots of paint that he probably derived from Illuminated manuscript techniques and first brought into oil painting. These gave Giorgione's works the magical glow of light for which they are celebrated. Most central and typical of all of Giorgione's extant works

1008-468: Is considered to be of the main members of the group of artists known as the Little Masters . Arthur Mayger Hind considers his graphical work to be somewhat lacking in technical skill but with an "intimate personal touch", and notes his characteristic feeling for landscape. As the superintendent of the municipal buildings Altdorfer had overseen the construction of several commercial structures, such as

1080-425: Is no way of telling". Although he died in his thirties, 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 effect to a sentimental presentation. He was arguably the first Italian to paint landscapes with figures as movable pictures in their own frames with no devotional, allegorical, or historical purpose—and

1152-691: Is not: "The best evidence, perhaps, that Giorgione's 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 Venetian non-religious painting in the first half of the 16th century is the lack of learned or literary content". Attributions of work by Giorgione's hand dates from soon after his death, when some of his paintings were completed by other artists, and his considerable reputation also led to very early erroneous claims of attribution. The vast bulk of documentation for paintings in this period relates to large commissions for Church or government;

1224-449: Is seen beyond and through the opening of a dark grotto. The date of completion on the resurrection panel is 1518. Altdorfer often distorts perspective to subtle effect. His donor figures are often painted completely out of scale with the main scene, as in paintings of the previous centuries. He also painted some portraits; overall his painted oeuvre was not large. In his later works, Altdorfer moved more towards mannerism and began to depict

1296-571: Is the Sleeping Venus now in Dresden . It was first recognized by Giovanni Morelli , and is now universally accepted, as being the same as the picture seen by Marcantonio Michiel and later by Ridolfi (his 17th-century biographer) in the Casa Marcello at Venice. An exquisitely pure and severe rhythm of line and contour chastens the sensuous richness of the painting. The sweep of white drapery on which

1368-542: Is the Portrait of a Young Man now in Berlin , acclaimed by art historians for "the indescribably subtle expression of serenity and the immobile features, added to the chiseled effect of the silhouette and modeling". Few of the portraits attributed to Giorgione appear as straightforward records of the appearance of a commissioning individual, although it is entirely possible that many are. Many can be read as types designed to express

1440-567: Is thought to be the earliest painting to show the curvature of the Earth from a great height. The Battle is now in the Alte Pinakothek , which has the best collection of Altdorfer's paintings, including also his small St. George and the Dragon (1510), in oil on parchment , where the two figures are tiny and almost submerged in the lush, dense forest that towers over them. Altdorfer seems to exaggerate

1512-448: Is vast in ambition, sweeping in scope, vivid in imagery, rich in symbols, and obviously heroic—the Iliad of painting, as literary critic Friedrich Schlegel suggested In the painting, a swarming cast of thousands of soldiers surround the central action: Alexander on his white steed, leading two rows of charging cavalrymen, dashes after a fleeing Darius, who looks anxiously over his shoulder from

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1584-446: Is wholly satisfying. Theories 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 man to the left was a seated female nude. The Three Philosophers is equally enigmatic and its attribution to Giorgione is still disputed. The three figures stand near a dark empty cave. Sometimes interpreted as symbols of Plato's cave or

1656-448: Is widely accepted), and a number of aspects of the arguments over the defining of Giorgione's late style involve drawings. Despite being greatly praised by contemporary writers and remaining a great name in Italy, Giorgione became less known to the wider world, and many of his (probable) paintings were assigned to others. The Hermitage Judith for example, was long regarded as a Raphael , and

1728-603: 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 significant part in reducing the Giorgione catalogue, recognising fewer than twenty paintings. Matters are further complicated because no drawing can be certainly identified as by Giorgione (although one in Rotterdam

1800-647: The Concert from Palazzo Pitti as Giorgione's masterpiece but disattributed the Louvre's Pastoral Concert , Lermolieff reinstated the Pastoral Concert and claimed instead that the Pitti Concert was by Titian. Giulio Campagnola , well known as the engraver who translated the Giorgionesque style into prints , but none of whose paintings are securely identified, is also sometimes also brought into consideration. For example,

1872-690: 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 "reveals the Venetians' love of textures", because the painter "renders almost palpable the appearance of flesh, fabric, wood, stone, and foliage". The painting is devoid of harsh contours and its treatment of landscape has been frequently compared to pastoral poetry, hence

1944-560: The "Pan Giorgionismus" which a century ago claimed for Giorgione nearly every painting of the time that at all resembles his manner, there are still, as then, exclusive critics who reduce to half a dozen the list of extant pictures that they will admit to be by this painter. For his home town of Castelfranco, Giorgione painted the Castelfranco Madonna , an altarpiece in sacra conversazione form— Madonna enthroned, with saints on either side forming an equilateral triangle. This gave

2016-661: The Audience in the Doge's 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 Venice, having already done similar work on the exterior of the Casa Soranzo, the Casa Grimani alli Servi and other Venetian palaces. Very little of this work now survives. Vasari mentions his meeting with Leonardo da Vinci on

2088-475: 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 firmly excluded from his oeuvre, but debate is, if anything, more fierce now than then. There are effectively two fronts on which

2160-539: The Elder and Wolf Huber he is regarded to be the main representative of the Danube School , setting biblical and historical subjects against landscape backgrounds of expressive colours. He is remarkable as one of the first artists to take an interest in landscape as an independent subject. As an artist also making small intricate engravings he is seen to belong to the Nuremberg Little Masters . Altdorfer

2232-725: The Shepherds , rather more correctly) in the National Gallery of Art, Washington . This group includes another Washington painting, the Holy Family , and an Adoration of the Magi predella panel in the National Gallery, London . The paintings in this group, now often expanded to include a very similar Adoration of the Shepherds in Vienna, and sometimes other works, are increasingly included in or sometimes excluded from Giorgione's oeuvre. Ironically,

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2304-465: The Turks. By making the mass number of soldiers blend within the landscape/painting, it shows that he believed that the usage and depiction of landscape was just as significant as a historical event, such as a war. He renounced the office of Mayor of Regensburg to accept the commission. Few of his other paintings resemble this apocalyptic scene of two huge armies dominated by an extravagant landscape seen from

2376-657: The Venetian school of Italian Renaissance painting , characterised by its use of colour and mood. The school is traditionally contrasted with Florentine painting , which relied on a more linear disegno -led style. What little is known of Giorgione's life is given in Giorgio Vasari 's Lives of the Most Excellent Painters, Sculptors, and Architects . He came from the small town of Castelfranco Veneto , 40 km inland from Venice. His name sometimes appears as Zorzo ;

2448-403: The Venetian school, including Titian , Sebastiano del Piombo , Palma il Vecchio , il Cariani , Giulio Campagnola (and his brother), and even on his already eminent master, Giovanni Bellini. In the Venetian mainland, Giorgionismo strongly influenced Morto da Feltre , Domenico Capriolo , and Domenico Mancini . Giorgione died of the plague then raging, on the 17th of September, 1510. He

2520-519: The altarpiece and the frescoes, all Giorgione's surviving works are small paintings designed for the wealthy Venetian collector to keep in his home; most are under two feet (60 cm) in either dimension. This market had been emerging over the last half of the 15th century in Italy, and was much better established in the Netherlands , but Giorgione was the first major Italian painter to concentrate his work on it to such an extent—indeed soon after his death

2592-579: The altarpiece displayed the four panels of the legend of St. Sebastian's Martyrdom, while the opened wings displayed the Stations of the Cross . Today the altarpiece is dismantled and the predellas depicting the two final scenes, Entombment and Resurrection were sold to Kunsthistorisches Museum in Vienna in 1923 and 1930. Both these paintings share a similar formal structure that consists of an open landscape that

2664-528: The battles are fought: paintings with figures and landscape, and portraits. According to David Rosand in 1997, "The situation has been thrown into new critical confusion by Alessandro Ballarin's radical revision of the corpus ... [Paris exhibition catalogue, 1993, increasing it] ... as well as Mauro Lucco ... [Milan book, 1996]." Recent major exhibitions at Vienna and Venice in 2004 and Washington in 2006, have given art historians further opportunities to see disputed works side by side (see External links below). But

2736-567: The date (1506). This is on the back and is not necessarily by his own hand, but does appear to come from the period. The early pair of paintings in the Uffizi are usually accepted. After that, things become more complicated, as exemplified by Vasari . In the first edition of the Vite (1550), he attributed a Christ Carrying the Cross to Giorgione; in the second edition completed in 1568 he ascribed authorship, variously, to Giorgione in his biography, which

2808-513: The drapery of its limbs. He also made many fine finished drawings, mostly landscapes, in pen and watercolour such as the Landscape with the Woodcutter in 1522. The drawing opens at ground level on a clearing surrounding an enormous tree that is placed in the center, dominating the picture. Some see the tree pose and gesticulate as if it was human, splaying its branches out in every corner. Halfway up

2880-446: The expressionistic. They often depict moments of intimacy between Christ and his mother, or various saints. His sacral masterpiece and one of the most famous religious works of art of the later Middle Ages is The Legend of St. Sebastian and The Passion of Christ of the so-called Sebastian Altar in St. Florian's Priory ( Stift Sankt Florian ) near Linz , Upper Austria . When closed

2952-526: The first landscape painter in the modern sense, making him the leader of the Danube School , a circle that pioneered landscape as an independent genre, in southern Germany . From 1513 he was at the service of Maximilian I in Innsbruck , where he received several commissions from the imperial court. During the turmoil of the Protestant Reformation , he dedicated mostly to architecture; paintings of

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3024-405: The goddess lies; and the glowing landscape that fills the space behind her; most harmoniously frame her divinity. The use of an external landscape to frame a nude is innovative; but in addition, to add to her mystery, she is shrouded in sleep, spirited away from accessibility to any conscious expression. It is recorded by Michiel that Giorgione left this piece unfinished and that the landscape, with

3096-703: The human form to the conformity of the Italian model, as well as dominate the picture with frank colors. His rather atypical Battle of Issus (or of Alexander ) of 1529 was commissioned by William IV, Duke of Bavaria as part of a series of eight historical battle scenes destined to hang in the Residenz in Munich. Albrecht Altdorfer's depiction of the moment in 333 BCE when Alexander the Great routed Darius III for supremacy in Asia Minor

3168-799: The interior of the synagogue and designed a woodcut of the cult image of the Schöne Maria. In 1529–1530 he was also charged with reinforcing certain city fortifications in response to the Turkish threat. Albrecht's brother, Erhard Altdorfer , was also a painter and printmaker in woodcut and engraving, and a pupil of Lucas Cranach the Elder . Giorgione Giorgio Barbarelli da Castelfranco ( Venetian : Zorzi ; 1477–78 or 1473–74 – 17 September 1510), known as Giorgione ( UK : / ˌ dʒ ɔːr dʒ i ˈ oʊ n eɪ , - n i / JOR -jee- OH -nay, -⁠nee , US : / ˌ dʒ ɔːr ˈ dʒ oʊ n i / jor- JOH -nee ; Italian: [dʒorˈdʒoːne] ; Venetian: Zorzon [zoɾˈzoŋ] ),

3240-412: The landscape background an importance which marks an innovation in Venetian art, and was quickly followed by his master Giovanni Bellini and others. Giorgione began to use the very refined chiaroscuro called sfumato —the delicate use of shades of color to depict light and perspective—around the same time as Leonardo. Whether Vasari is correct in saying he learned it from Leonardo's works is unclear—he

3312-576: The landscape). Some recent art historians also involve Titian in the Three Philosophers . The Tempest is therefore the only one of the group universally accepted as wholly by Giorgione. In addition, the Castelfranco Altarpiece in his hometown has rarely, if ever, been doubted, nor have the wrecked fresco fragments from the German warehouse. The Vienna Laura is the only work with his name and

3384-411: 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. A group of paintings from an earlier period in Giorgione's short career is sometimes described as the "Allendale group", after the Allendale Nativity (or Allendale Adoration of

3456-461: The letter shows she was aware he was already dead. Significantly, the reply a month later said the painting was not to be had at any price. His name and work continue to exercise a spell on posterity. But to identify and define, among the relics of his age and school, precisely what that work is, and to distinguish it from the similar work of other men whom his influence inspired, is a very difficult matter. Although there are no longer any supporters of

3528-481: The main characteristics of the Danube school. Other elements that distinguish Danube school artworks is the prominence of nature and how it is represented through these pieces of art as well as the human figure in these natural elements and human events that happen within nature. Of all the artists within the Danube school, Albrecht Altdorfer is one that has mastered the landscapes of the Danube. His painting, Danube Landscape has been dated between 1520 and 1525 which

3600-435: The measurements of the forest in comparison to the figures: the leaves appear to be larger than the horse, showing the significance of nature and landscape. He also emphasizes line within the work, by displaying the upward growth of the forest with the vertical and diagonal lines of the trunks. There is a small opening of the forest on the lower right hand corner that provides a rest for your eyes. It serves to create depth within

3672-523: The occasion of the Tuscan master's visit to Venice in 1500. All accounts agree in representing 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 Venetian life 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. He

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3744-457: The painting and is the only place you can see the characters. The human form is completely absorbed by the thickness of the forest. Fantastic light effects provide a sense of mystery and dissolve the outline of objects. Without the contrast of light, the figures would blend in with its surrounding environment. Altdorfer's figures are invariably the complement of his romantic landscapes; for them he borrowed Albrecht Dürer 's inventive iconography, but

3816-524: The paintings are identified virtually unanimously with surviving works by art historians: The Tempest , The Three Philosophers , Sleeping Venus , Boy with an Arrow , and Shepherd with a Flute (not all accept the last as by Giorgione however). Michiel describes the Philosophers as having been completed by Sebastiano del Piombo, and the Venus as finished by Titian (it is now generally agreed that Titian did

3888-631: The panoramic setting is personal and has nothing to do with the fantasy landscapes of the Netherlands A Susanna in the Bath and the Stoning of the Elders (1526) set outside an Italianate skyscraper of a palace shows his interest in architecture. Another small oil on parchment, Danube Landscape with Castle Wörth (c. 1520) is one of the earliest accurate topographical paintings of a particular building in its setting, of

3960-594: The period, showing his increasing attention to architecture, include the Nativity of the Virgin . In 1529, he executed The Battle of Alexander at Issus for Duke William IV of Bavaria . In the 1520s he returned to Regensburg as a wealthy man, and became a member of the city's council. He was also responsible for the fortifications of Regensburg. In that period his works are influenced by artists such as Giorgione and Lucas Cranach , as shown by his Crucifixion . In 1535, he

4032-410: 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 paintings. But most of these ... bear no resemblance to the three just mentioned. Some of them might be by Giorgione, but in most cases there

4104-520: The size of paintings began to increase with the prosperity and palaces of the patrons. The Tempest has been called the first landscape in the history of Western painting . The subject of this painting is unclear, but its artistic mastery is apparent. The Tempest portrays a man and a breast-feeding woman on either side of a stream, amid a city's rubble and an incoming storm. The multitude of symbols in The Tempest offer many interpretations, but none

4176-458: The small domestic panels that make up the bulk of Giorgione's oeuvre are always far less likely to be recorded. Other artists continued to work in his style for some years, and probably by the mid-century deliberately deceptive work had started. Primary documentation for attributions comes from the Venetian collector Marcantonio Michiel. In notes dating from 1525 to 1543 he identifies twelve paintings and one drawing as by Giorgione, of which five of

4248-527: The subject of the painting, as well as compositions dominated by their landscape; these comprise much of his oeuvre . He believed that the human figure should not disrupt nature, but rather participate in it or imitate its natural processes. Taking and developing the landscape style of Lucas Cranach the Elder , he shows the hilly landscape of the Danube valley with thick forests of drooping and crumbling firs and larches hung with moss, and often dramatic colouring from

4320-482: The title. Giorgione and the young Titian revolutionized the genre of the portrait as well. It is exceedingly difficult and sometimes simply impossible to differentiate Titian's early works from those of Giorgione. None of Giorgione's paintings are signed and only one bears a reliable date: his portrait of Laura (1 June 1506), one of the first to be painted in the "modern manner", distinguished by dignity, clarity, and sophisticated characterization. Even more striking

4392-521: The town architect and a town councillor. His first signed works date to c.  1506 , including engravings and drawings such the Stygmata of St. Francis and St. Jerome . His models were niellos and copper engravings from the workshops of Jacopo de Barbari and Albrecht Dürer . Around 1511 or earlier, he travelled down the river and south into the Alps, where the scenery moved him so deeply that he became

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4464-670: The tree trunk, hangs a gabled shrine. At the time, a shrine like this might shelter an image of the Crucifixion or the Virgin Mary, but since it is turned away from the viewer, we are not sure what it truly is. At the bottom of the tree, a tiny figure of a seated man, crossed legged, holds a knife and axe, declaring his status in society/occupation. Also, he often painted scenes of historical and biblical subjects, set in atmospheric landscapes. His best religious scenes are intense, with their glistening lights and glowing colours sometimes verging on

4536-420: The variant Giorgione (or Zorzon ) may be translated "Big George". It is unclear how early in boyhood he went to Venice, but stylistic evidence supports the statement of Carlo Ridolfi that he served his apprenticeship there under Giovanni Bellini ; there he settled and rose to prominence as a master. Contemporary documents record that his talent was recognized early. In 1500, when he was in his twenties, he

4608-622: The whole of Italian Renaissance art," but affects a large number of paintings possibly from Giorgione's last years. The Pastoral Concert is one of a small group of paintings, including the Virgin and Child with Saint Anthony and Saint Roch in the Prado , which are very close in style and, according to Charles Hope, have been "more and more frequently given to Titian, not so much because of any very compelling resemblance to his undisputed early works—which would surely have been noted before—as because he seemed

4680-590: Was an Italian painter of the Venetian school during the High Renaissance , who died in his thirties. He is known for the elusive poetic quality of his work, though only about six surviving paintings are firmly attributed to him. The uncertainty surrounding the identity and meaning of his work has made Giorgione one of the most mysterious figures in European art. Together with his younger contemporary Titian , he founded

4752-488: Was born in Regensburg or Altdorf around 1480. He acquired an interest in art from his father, Ulrich Altdorfer, who was a painter and miniaturist. At the start of his career, he won public attention by creating small, intimate modestly scaled works in unconventional media and with eccentric subject matter. He settled in the free imperial city of Regensburg, a town located on the Danube River in 1505, eventually becoming

4824-568: Was chosen to paint portraits of the Doge Agostino Barbarigo 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

4896-550: Was in Vienna . He died at Regensburg in 1538. The remains of Altdorfer's surviving work comprises 55 panels, 120 drawings, 125 woodcuts, 78 engravings, 36 etchings, 24 paintings on parchment, and fragments from a mural for the bathhouse of the Kaiserhof in Regensburg. This production extends at least over the period 1504–1537. He signed and dated each one of his works. Altdorfer was the pioneer painter of pure landscape, making them

4968-521: Was observing a painting in 1892 in the Danube region around Regensburg, Germany. When artist Lucas Cranach's art work was recognized to have stylistic elements of the "Danube" the name "the Danube school" began to take a deeper meaning. The river valleys of Austria and western Bavaria have often been praised as the land of the 'beautiful Danube' and not in just song but in the pictorial arts as well. (Snyder, James) Rugged mountain terrain, towering fir trees and dramatic lighting effects of sunset and dawn are

5040-408: Was printed in 1565, and to Titian in his, printed in 1567. He had visited Venice in between these dates, and may have obtained different information. The uncertainty in distinguishing between the painting of Giorgione and the young Titian is most apparent in the case of the Louvre 's Pastoral Concert (or Fête champêtre ), described in 2003 as "perhaps the most contentious problem of attribution in

5112-408: Was usually thought to have died and been buried on the island of Poveglia in the Venetian lagoon, but an archival document published for the first time in 2011 places his death on the island of Lazzareto Nuovo; both were used as places of quarantine in times of plague. October 1510 is also the date of a letter by Isabella d'Este to a Venetian friend; asking him to buy a painting by Giorgione;

5184-450: Was very closely associated with Titian ; although Vasari says that Titian was Giorgione's disciple, Ridolfi says that they both were pupils of Giovanni Bellini and lived together in his home. They worked together on the Fondaco dei Tedeschi frescoes, and Titian finished at least some paintings of Giorgione after his death, although which ones remains controversial. Giorgione also introduced

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