![The Lute Player (ca. 1514) "Oil on canvas, 71 x 65 cm" [Musée des Beaux-Arts, Strasbourg, France] -- Giovanni Cariani (Italian; ca. 1485 - 1547) | by La Música en La Pintura - Music in Painting.](http://live.staticflickr.com/65535/52739954627_1128b9ba30.jpg)
The Lute Player (ca. 1514) "Oil on canvas, 71 x 65 cm" [Musée des Beaux-Arts, Strasbourg, France] -- Giovanni Cariani (Italian; ca. 1485 - 1547)
This painting was attributed to G. Cariani by W. Bode when it was acquired in Venice in 1890. If today all the critics agree to consider it as an important work of the Venetian painter, it was not always so. : it was judged for example of "too high quality" to be by Cariani, and it was proposed to attribute it to Palma Vecchio. The painting appears to be a capital work that allows us to measure the influence of Giorgione and the young Titian on Cariani and to grasp the intellectual climate of Venice at the beginning of the 16th century. The subject comes up several times in the artist's work, whether in the Musicians of Bergamo (Carrara Academy - c.1515) or in the Portrait of a violinist from Dijon (Musée Magnin - c. 1547). With Cariani, the theme of the musician is not only the evocation of reality; it is a pretext for allegory and the intellectual discovery of music, which becomes reverie, a moment preserved and reserved for a small circle. The Giorgionesque heritage then finds its full resonance, while the pictorial technique is closer to that of Titian. The face is finally more structured than those of Giorgione, treated in horizontal planes with particular attention paid to the individualization of the features.
Source: Musée des Beaux-Arts de Strasbourg
musees-strasbourg.skin-web.org/document/mba-236/5ee338d64...
en.wikipedia.org/wiki/Giovanni_Cariani
The Lute Player (ca. 1514) "Oil on canvas, 71 x 65 cm" [Musée des Beaux-Arts, Strasbourg, France] -- Giovanni Cariani (Italian; ca. 1485 - 1547)
This painting was attributed to G. Cariani by W. Bode when it was acquired in Venice in 1890. If today all the critics agree to consider it as an important work of the Venetian painter, it was not always so. : it was judged for example of "too high quality" to be by Cariani, and it was proposed to attribute it to Palma Vecchio. The painting appears to be a capital work that allows us to measure the influence of Giorgione and the young Titian on Cariani and to grasp the intellectual climate of Venice at the beginning of the 16th century. The subject comes up several times in the artist's work, whether in the Musicians of Bergamo (Carrara Academy - c.1515) or in the Portrait of a violinist from Dijon (Musée Magnin - c. 1547). With Cariani, the theme of the musician is not only the evocation of reality; it is a pretext for allegory and the intellectual discovery of music, which becomes reverie, a moment preserved and reserved for a small circle. The Giorgionesque heritage then finds its full resonance, while the pictorial technique is closer to that of Titian. The face is finally more structured than those of Giorgione, treated in horizontal planes with particular attention paid to the individualization of the features.
Source: Musée des Beaux-Arts de Strasbourg
musees-strasbourg.skin-web.org/document/mba-236/5ee338d64...
en.wikipedia.org/wiki/Giovanni_Cariani