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If the classical painters of central Italy had achieved the new complete harmony within their pictures by means of perfect design and balanced arrangement, it was only natural that the painters of Venice should follow the lead of Giovanni Bellini, who made such happy use of color and light to unify his pictures. It was in this sphere that the painter Giorgione achieved the most revolutionary results. Very little is known of this artist; scarcely five paintings can be ascribed with absolute certainty to his hand. Yet these suffice to secure him a fame nearly as great as that of the great leaders of the new movement. Strangely enough, even these pictures contain something of a puzzle. We are not sure what the most accomplished one, The Tempest, represents; it may be a scene from some classical writer or an imitator of the classics. For Venetian artists of the period had awakened to the charm of the Greek poets and what they stood for. They liked to illustrate the idyllic stories of pastoral love and to portray the beauty of Venus and the nymphs. One day the episode here illustrated may be identified - the story, perhaps, of a mother of some future hero, who was cast out of the city into the wilderness with her child and was there discovered by a friendly young shepherd. For this, it seems, is what Giorgione wanted to represent. But it is not due to its content that the picture is one of the most wonderful things in art. That this is so may be difficult to see in a [scan], but even such an illustration conveys a shadow, at least, of his revolutionary achievement. Though the figures are not particularly carefully drawn, and though the composition is somewhat artless, the picture is clearly blended into a whole simply by the light and air that permeate it all. It is the weird light of a thunderstorm, and for the first time, it seems, the landscape before which the actors of the picture move is not just a background. It is there, by its own right, as the real subject of the painting. We look from the figures to the scenery which fills the major part of the small panel, and then back again, and we feel somehow that, unlike his predecessors and contemporaries, Giorgione has not drawn things and persons to arrange them afterwards in space, but that he really thought of nature, the earth, the trees, the light, air and clouds and the human beings with their cities and bridges as one. In a way, this was almost as big a step forward into a new realm as the invention of perspective had been. From now on, painting was more than drawing plus coloring. It was an art with its own secret laws and devices.
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