Giorgione – The Adoration of the Shepherds National Gallery of Art (Washington)
National Gallery of Art – Giorgione - The Adoration of the Shepherds
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Unlike most of his contemporaries of his time, and we are talking about the era of the Venetian masters, Giorgione did not try and write large compositions with a large number of figures on it. Even on the contrary, in most of his works this artist was verbose, and the essence of the paintings he expressed only through his own, internal associative comprehension of the subject picture. Very often the artist gave the audience the opportunity to reflect on his creative works of art on their own, by their own efforts. Therefore, in his work entitled The Worship of the Shepherds, the artist depicted not only the obligatory figures, which had to be there by logic, but also a special background.
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Description of Giorgione’s painting The Adoration of the Shepherds
Unlike most of his contemporaries of his time, and we are talking about the era of the Venetian masters, Giorgione did not try and write large compositions with a large number of figures on it. Even on the contrary, in most of his works this artist was verbose, and the essence of the paintings he expressed only through his own, internal associative comprehension of the subject picture. Very often the artist gave the audience the opportunity to reflect on his creative works of art on their own, by their own efforts.
Therefore, in his work entitled The Worship of the Shepherds, the artist depicted not only the obligatory figures, which had to be there by logic, but also a special background. It complements and takes an active part in the actions of the main characters - the family of true Saints and the shepherds who bowed their knees as a sign of respect and devotion.
As for the background, its perspective, going deep into the distance, closes in somewhere far away on the horizon. And closing it out are the blue mountains. This display of landscape and background behind the shepherds’ backs creates a sense of atmosphere and air.
A separate role in the picture is given to the lighting, which has become something different, unlike the lighting in other works by the artist. It lacks the purity and clarity that are inherent in Quattrocento works, but has a dim, barely perceptible light, appearing in the afternoon. This peculiarity of illumination gives the painting additional volume and wholeness. The caves, rendered in dark colors, create a contrast with the clothes of Mary and her lawful husband Joseph, as well as with the clothes of the shepherds whose dutiful backs technically repeat the outlines of the entrance to the caves near the characters.
All this made the painting by the artist and master of his craft Giorgione one of the most extraordinary and interesting of all the artists of his time.
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