Country Concert by Giorgione

Country Concert by Giorgione

Picture “Country Concert” or “Concert in the open air” by the Venetian artist Giorgione. The size of the master’s work is 110 x 138 cm, canvas, oil. The artist in the painting “The Village Concert” depicts a group of two young men in lush clothes and two naked women against the background of a tranquil solemn landscape. Rounded tree crowns, the calm-slow movement of moist clouds surprisingly in harmony with the loose wide rhythms of the garments and movements of the young men, with the luxurious beauty of naked women.

Darkened by the time lacquer gave the picture

a warm, almost hot golden color. In fact, her painting was originally characterized by a balance of general tone. It was achieved by an accurate and delicate harmonious comparison of reserved cold and moderately warm tones. It was this delicate and complex, the soft neutrality of the general tone acquired through precisely caught contrasts that not only created the unique for the Venetian artist Giorgione the unity between the complex differentiation of shades and the clarity of the coloristic whole, but also softened somewhat that joyfully sensual anthem to the magnificent beauty and enjoyment of life that is embodied in this picture. Actually, Giorgione’s painting is a picturesque pastoral poem about nature that submits to the magic of art, which is represented here by two young musicians, together with two nude figures,

In the film “The Village Concert” they find Titian’s hand, sometimes even fully attributing this work to him. According to most researchers of the Venetian painting of the Renaissance, this statement is wrong and unfair. It is generally believed that the painting was written by Giorgione in conjunction with Titian. To a greater extent than other works of Giorgione, the painting “The Rural Concerto” seems to be preparing the appearance of Titian. At the same time, the significance of this late work of Giorgione is not only in her, so to speak, preparatory role, but in the fact that she is once again uncovered by no one repeated, in the future, a peculiar charm of the creativity of this artist.

The sensual joy of being in Titian sounds like a light and uplifted excited hymn to human happiness, its natural right to enjoyment. In Giorgione, the sensual joy of the motive is mitigated by dreamy contemplation, is subordinated to the clear, enlightened, balanced harmony of a holistic view of life. Therefore, the color of the whole composition is neutral, so the movements of beautiful thoughtful women are so calmly restrained, so the colors of luxurious dresses of two young men are muffled, so they are both not so much looking at the beauty of their girlfriends as they are immersed in the quiet world of music: The gentle sound of the pipe, which the beautiful woman took from her lips; the chords of the lute strings gently in the hands of the young man; from afar, from under the tree-clad, the dull sounds of the bagpipe, on which the shepherd shepherd is grazing, are barely heard.

To the quiet murmur of a stream running from a transparent glass vessel, the second woman, leaning against the marble well, listens. This atmosphere of flowing music, immersion in the world of its melodies give a special noble charm to this vision of the clarified and poeticized sensually beautiful joy of being.

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