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wrote that the picture changed the way she looked at painting. She was fascinated with the subject and "its sense of permanently suspended enigma", and calls it a "haunted picture", inhabited by the actual presence of the artist.
215:, and the lightning, as in ancient Greek and Hebrew times, would represent God, who has just ousted them from Eden. Others have proposed a moral allegorical reading or concluded that Giorgione had no particular subject in mind.
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on the left. He smiles and glances to the left but does not appear to be looking at the woman. Art historians have identified the man alternatively as a soldier, a shepherd, a gypsy, or a member of a club of unmarried men.
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the protagonist claims the painting as his favorite and it plays a central role in the plot. It is viewed by the main characters who visit the painting in Venice and is referred to several times throughout the novel.
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The painting's features seem to anticipate the storm. The colours are subdued and the lighting soft; greens and blues dominate. The landscape is a not a mere backdrop, but forms a notable contribution to early
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explains its symbolism in a wealthy man's study. According to him, the man is a shepherd who represents
Giorgione and the lady is a woman the painter loves, without hoping his love will be requited.
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In
September, 1943, Professor Pasquale Rotondi, Central Inspector for the General Direction of the Arts, put it under his bed to hide it from German troops.
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where he wanted to "strip the timbre away from its subordinate or anecdotal character, like what
Giorgione has done in terms of colour".
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of the painting have revealed that in the place of the man, Giorgione originally painted another female nude. One may also note the
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on the rooftop on the right. Storks sometimes represent the love of parents for their children.
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and, ultimately, no definitive reading or interpretation. To some it represents the
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On the right a woman sits, nursing a baby. The woman has been described as a
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83 cm × 73 cm (33 in × 29 in)
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since at least 1530, and in Italy, the painting is also known as
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dated between 1506 and 1508. Originally commissioned by the
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16:"La Tempesta" redirects here. For the 1958 drama film, see
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A Book of Liszts: Variations on the Theme of Franz Liszt
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The painting is at the centre of the plot in the novel
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Giorgione's
Tempest: Interpreting the Hidden Subject
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589:, p. 114, W. W. Norton and Company, New York, 2013.
465:"Tempesta di Giorgione – il mondo nomade nell'arte"
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415:"LA TEMPESTA DI GIORGIONE: LE INTERPRETAZIONI"
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143:("The Gypsy Woman and the Soldier"), or as
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974:Paintings in the Gallerie dell'Accademia
749:Portrait of Francesco Maria della Rovere
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440:"GIORGIONE DA CASTELFRANCO (1477?–1510)"
393:, which the narrator of the scene calls
199:novel. According to the Italian scholar
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557:. University of Chicago Press.
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613:Pleasures of a Tangled Life
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864:Portrait of a Young Man
389:discuss the meaning of
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969:Paintings by Giorgione
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840:The Three Philosophers
615:, Arrow, 1990, p. 170.
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23:Painting by Giorgione
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761:Castelfranco Madonna
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332:Juan Manuel de Prada
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469:gongoff.com
391:The Tempest
383:Franz Liszt
368:Neil Gaiman
328:The Tempest
253:, c. 1506–8
251:The Tempest
173:The Tempest
97:Renaissance
93:La Tempesta
88:The Tempest
29:The Tempest
958:Categories
564:0226748936
419:scudit.net
401:References
343:Geoff Dyer
272:Jan Morris
266:Lord Byron
69:Dimensions
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713:Paintings
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573:988502896
506:March 13,
264:This was
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105:Giorgione
91:(Italian
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474:15 March
449:15 March
424:14 March
363:The Wake
205:Paradise
197:pastoral
109:Venetian
77:Location
640:Závratě
193:Demeter
103:master
101:Italian
95:) is a
56:c. 1508
941:Titian
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819:(1506)
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726:Titian
644:Prague
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301:where
189:Iasion
185:Oenone
154:X-rays
121:Venice
61:Medium
43:Artist
816:Laura
377:, by
366:, by
289:Czech
187:; or
181:Paris
158:stork
137:gypsy
125:Italy
728:and
646:1968
569:OCLC
559:ISBN
530:ISBN
508:2013
476:2017
451:2017
426:2017
385:and
292:poet
213:Cain
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183:and
53:Year
732:) (
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