The Golden Age of Venetian Painting, initiated by Bedllini. found a continuator in the enigmatic form of Giorgion (1475-1510). his disciple whose short life is shrouded in a fog of mystery. One of the few paintings, which can certainly be attributed to him is the Storm located in the Venetian Accademia, whose real subject eluded even his contemporaries. For the first time in Italian art, the figures are completely subordinated to the lush landscape, illuminated by ominous streaks of light. The poignant altar in the cathedral of his hometown of Castelfranco Veneto is certainly his work., but it is very likely, that many of the other paintings attributed to him were made by one of the numerous painters imitating his poetic, colorful style. Some of them. such as Vincenzo Catena (Ok. 1480-1528) and Palma il Vecchio (Ok. 1480-1528) have developed their own expressive artistic personalities. The most prominent figure of this circle was Lorenzo Lotto (Ok. 1480-1556), who has travelled throughout his career, absorbing an astonishing variety of influences along the way.
Giorgione's influence is also evident in Titian's early work (Ok. 1485-1576). the dominant figure of the Venetian school and one of the most versatile painters of all time. With equal mastery, he took up all the subjects depicting in the Renaissance era — altars, mythological scenes, allegories and portraits. Even more than Michelangelo, he was able to choose between patrons and was the first artist, who have secured a truly international clientele. As a portraitist of the powerful, Titian was incomparable., by establishing the language of official images. which was to apply in the seventeenth century. His absolute technical and compositional mastery is already evident in his relatively early works., such as the Assumption in I Frari. first example of a form, which was to become a Venetian specialty: a panel image made for a specific architectural interior. At the end of his life, Titian abandoned his daring style and bright palette in favor of a highly casual style., to the limit using the possibilities of oil paint.
Giovanni Antonio Pordenone (14834-1539) was a provincial Northern Italian painter strongly influenced by Giorgion and Titian. The more obvious heirs of the Venetian masters were the painters of the School of Brescia. Giovanni Giro-lamo Savoldo (operated in years 1508-48) showed particular efficiency in exploiting lighting effects and was a pioneer of night scenes, while Alessandro Moretto (Ok. 1498-1554) he was one of the most penetrating Renaissance portraitists and seems to be, that he introduced in Italy the form of portrait en pied (of the whole character). His altars are more diverse, but they are often characterized by a suitably lofty mannerism.