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The landscape in Venetian Renaissance painting makes its first important appearance in the Sketch-books of Jacopo Bellini. These landscapes depend little on the observation of nature. They are not drawings done from life, but imaginary landscapes which show that Jacopo was far more interested in creating form and space than in giving the landscape a particular mood. The landscapes of Giovanni Bellini are far more dependent on the observation of natural phenomena than those of Jacopo. Giovanni's landscapes usually depict the undulating and broken topography of the Veneto, but he did not paint particular views of this area. There is always much evidence of man's activity in Giovanni's landscapes. In these paintings the human figures are sometimes small, but never insignificant. The relationship of figures to the landscape is of great importance to the formal design, the emotional appeal and the spiritual significance of the whole. The dominant mood of Giovanni Bellini's landscapes is that of quiet religosity. From whom Giovanni learnt the use of the oil technique could not be accurately determined, but the fact that he did adopt the oil medium was of great importance to the development of Venetian landscape painting, as it enabled painters to capture the subtleties of light, colour and texture in their paintings. The landscapes of Giorgione are dependent upon the technical achievements of Giovanni Bellini, but while Bellini's landscapes are predominantly religious in character, those of Giorgione were closely connected with the new humanist culture of early sixteenth century Venice. Giorgione sought a direct and sensuous portrayal of man and nature in gentle and harmonious union. His landscapes appear to be physically softer than those of Bellini and he devoted greater attention to atmosphere. The forms in a Giorgione landscape are less precisely defined than those of a Bellini work, and contours are often blurred as Giorgione was concerned with painting a general visual impression. Nature in a Giorgione landscape is tamed and ordered, but seldom cultivated as his landscapes are primarily Arcadian. Despite the fact that Titian came from a mountainous region, his early landscapes are not mountainous but Giorgionesque. While Titian's early frescoes in Padua show a more active and dramatic relationship between man and nature, than was shown by either Giovanni Bellini or Giorgione, they are unlike his other early landscapes. After Giorgione's death Titian painted many bucolic landscapes in the manner of Giorgione. With the mythological paintings done for Alfonso, Duke of Ferrara, Titian's forms become more plastic and assertive, and his landscapes more joyous and Pandean in mood. While Titian made less use of landforms as a compositional device, he exploited clouds and foliage to a far greater degree. His use of foliage as a means of expression, to amplify and intensify the human action of the painting, reached its fullest development in the Murder of St. Peter Martyr. Titian's mountain landscapes, wilder than anything in previous Venetian painting, represent one climax in the development of Venetian landscape painting, at the same time that he was reworking idyllic Giorgionesque motifs in his Venus del Pardo. As far as is known, not one of the Venetian Renaissance painters painted a landscape as an end in itself. That development took place in the seventeenth century. It was the Venetian Renaissance painters who played the major role in the process which led to its acceptance as a legitimate mode of artistic expression. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

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The Renaissance theorist Gioseffo Zarlino and his theoretical treatise Le istitutioni harmoniche were a vital link to the future of theory. His polyphonic music and ten text underlay rules are representative of the new music of the Venetian School, which was headed by his mentor Adrian Willaert. Examination of Zarlino's thirteen extant madrigals provides us with a direct example of these rules and the secular style of the Venetian School, who strived to elevate their secular works to that of sacred music. The style was inspired by Pietro Bembo's Petrarchan revival, in which Renaissance composers utilized medieval Petrarchan texts or wrote new texts in the Petrarchan style. The texts were set to music which was composed to express the emotions of the texts. Zarlino accomplished this through the selection of major, minor, and diminished sonorities, which began the move to major-minor tonality in the history of Western music.

This dissertation is a collection of poems preceded by a critical preface. The preface considers Anthony’s Hecht’s long poem, “The Venetian Vespers,” and the ways in which the temporally unsettled situation of the poem’s speaker parallels a problem facing narrative-meditative poets. The preface is divided into two main sections that explore divisions of this larger conflict. The first discusses the origins and effects of the speaker’s uprootedness in time, and the ways in which he tries to both combat and embrace this dislocation by temporarily losing himself in the immediacy of observing visual art. In this section I connect the dilemma of the speaker, who wishes to escape his memory by focusing outwards, to the dilemma of a representational poet who, despite his position towards the past, must necessarily confront or recollect memories and emotions in order to create authentic descriptions or characters. The second section focuses on the production and appreciation of artistic works (both visual and literary) and how the meaning, production and appreciation of beauty are inseparable from its existence within the physical limits of time. Here I discuss the significance of Hecht’s character who is surrounded with beauty yet describes himself as a person who only observes and does not create anything. Through this character, I argue that Hecht reveals a fundamental conflict that exists between artistic creation and chronological time, and that his poem embodies a particular and paradoxical view of beauty that resonates deeply with the motivations and struggles of writing poems.

Working with a three-dimensional shape that adjusts light seemed exciting. Venetian blinds became a basis and source of inspiration in my project. What is a Venetian blind? I arrived at the definition ”a surface of angleble pieces for sun adjustment”. From that simplified meaning I started making sketches of what an alternative model could look like. My sun shield consists of manual adjustable cylinders. The idea is that every adjustable piece, besides blocking sunlight, also can be a jig-saw-piece. Every cylinder has a simple décor on the blocking side. Depending on how the pieces are angled, different patterns are formed. The shadow effect will also be an adjustable pattern. My aim has been to make a prototype for alternative sun adjustment. Focus is on experiment with shape and user experience rather than technical perfection and efficiency. / <p>Program: Textildesignutbildningen</p><p>Uppsatsnivå: C</p>