An attempt at reconstruction of wall paintings in the Exchange for German merchants in Venice.
| Project/Area Number |
14510083
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| Research Category |
Grant-in-Aid for Scientific Research (C)
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| Allocation Type | Single-year Grants |
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| Section | 一般 |
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| Research Field |
Fine art history
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| Research Institution | DOSHISHA UNIVERSITY |
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Principal Investigator |
KATSU Kunioki Doshisha University, Faculty of Letters, Professor, 文学部, 教授 (80066208)
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| Project Period (FY) |
2002 – 2003
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| Project Status |
Completed (Fiscal Year 2003)
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| Budget Amount *help |
¥1,900,000 (Direct Cost: ¥1,900,000)
Fiscal Year 2003: ¥800,000 (Direct Cost: ¥800,000)
Fiscal Year 2002: ¥1,100,000 (Direct Cost: ¥1,100,000)
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| Keywords | Exchange for German merchants / Fondaeo dei Tedeschi / Giorgione / Titian / freseo / wall painting / Vanice |
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| Research Abstract |
The exterior wall of the rebuild Fondaco dei Tedeschi (the Exchange for German merchants) (Central Post today) in Venice was painted in fresco in 1507-1510. But it remains today only their several fragments (Accademia, Galleria Francketti in Venice). On the basis of their style, reproduced etchings and literary sources it could be probably conjectured as the following.
On the wall facing the Grand Canal (west facade) by Giorgione :
"Standing Female Nude" (Accademia), "Winged Putto" (Saltwood Castle), "Seated Male Nude" and others (Zanetti's etchings), "Female with a Angel" (Vasari), "trophies..." (Ridolfi) etc.
On the wall facing the Merceria (southern facade) by Titian :
"Judith" (Galleria Francketti), "Triton and Putto" and others (ditto), "Campagno della Calza"and others (Zanetti's etchings) etc.
It is however, not known, how were then dispositions of these objects on the each well without exceptional figures. Combining one of these figures "Judith" represented on the wall facing Merceria, into its original place over the southern doorway, the wtiter could make a reconstructed-picture. In this original state seems to be more really understandable its iconographical meaning of "Judith", which is also to interpret as "Allegory of Justice".
The style of this figure is characteristic of Titian, as well as the style of "Standing Female Figure" (Accademia) is peculiar to Giorgione. Here is to see consequently the differences of style between both masters and to anticipate its later developments in the Venetian Renaissance.
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Report
(3 results)
Research Products
(13 results)
