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Pastoral Concert
| The Pastoral Concert | |
|---|---|
| Le Concert Champêtre | |
 | |
| Artist | Titian (attributed to) |
| Year | 1509–1510 |
| Medium | Oil on Canvas |
| Movement | Venetian painting |
| Dimensions | 105 x 136.5 cm |
| Location | Musée du Louvre, Paris |
| Website | Musée du Louvre |
The Pastoral Concert or Le Concert Champêtre is an oil painting of c. 1509 attributed to the Italian Renaissance master Titian.[1] It was previously attributed to his fellow Venetian and contemporary Giorgione. It is located in the Musée du Louvre in Paris.[2]
This painting was created between approximately 1509 and 1510; the exact date of its creation is unknown.[3] This period also represents a turbulent period of history in Venice, specifically the League of Cambrai's War in 1509.[4] Art historian Jonathan Unglaub suggests that this painting was painted in response to the war, providing an "idyllic refuge from the ravages of history."[4]
The term "Concert Champêtre" was first used in 1754 by Nicolas Bernard Lépicié, to describe this painting. But when it entered the Louvre in 1792 it was given the title of a Fête champêtre, a genre arguably based on this painting. It is believed to display the Renaissance admiration of classical poetry, an essential value of humanism.[5] This painting is also considered the origin of a genre of Pastoral paintings, because of its connection to pastoral poetry, as seen by the young men gathering in the Italian countryside's lush, picturesque greenery.[5] The pastoral concert or Fête Champêtre genre is described as a gathering in a picturesque landscape. Usually, young men are gathered together in a creative pursuit, seated on the landscape's grass. The paintings themselves are almost always allegories or depictions of mythological characters.[2] This is the 16th-century genre; in the French-led 18th-century type, women are very prominent.
This painting is an example of the Venetian school of Italian Renaissance art. Paintings from Venice are characterized as having rich color schemes that create a "warm glow" and emphasize naturalism above all else. Venetian paintings also have a specialty in mythological and allegorical themes. The unique use of color is known as colorito, and it was most often found in Venetian painting.[6]
The patronage of this painting remains unknown. Isabella d'Este is a possible candidate for patron due to a so-called bagno scene she commissioned for her brother Alfonso I d'Este, Duke of Ferrara. Still, the word bagno is considered to describe a painting by Palma Vecchio, another Venetian painter active during the same period.[7]
- ^ Musée du Louvre
- ^ a b Holberton, Paul (1993). "The Pastorale or Fête champêtre in the Early Sixteenth Century". National Gallery of Art: 244–262.
- ^ Klein, Robert (1967). "Die Bibliothek von Mirandola und das Giorgione zugeschriebene 'Concert champetre'". Zeitschrift für Kunstgeschichte. 30 (2/3): 199–206. doi:10.2307/1481707. ISSN 0044-2992. JSTOR 1481707.
- ^ a b Unglaub, Jonathan (1997). "The 'Concert Champêtre': The Crises of History and the Limits of Pastoral". Arion: A Journal of Humanities and the Classics. 5 (1): 46–96. ISSN 0095-5809. JSTOR 20163656.
- ^ a b Marlow, Kirk (2003), "Fête champêtre", Oxford Art Online, Oxford University Press, doi:10.1093/gao/9781884446054.article.t028098, ISBN 978-1-884446-05-4, retrieved 2020-10-11
- ^ Sorabella, Jean (October 2002). "Venetian Color and Florentine Design". www.metmuseum.org. Retrieved 2020-10-31.
- ^ Bellini, Giorgione, Titian, and the renaissance of Venetian painting. 2007.[ISBN missing][page needed]
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