Legacy thumb|The Castelfranco Madonna, before recent cleaning. Giorgione's only altarpiece Although he died in his thirties, Giorgione left a lasting legacy to be developed by Titian and 17th-century artists. Giorgione never subordinated line and colour to architecture, nor an artistic effect to a sentimental presentation. He was arguably the first Italian to paint landscapes with figures as movable pictures in their own frames with no devotional, allegorical, or historical purpose—and the first whose colours possessed that ardent, glowing, and melting intensity which was so soon to typify the work of all the Venetian School.
Legacy thumb|The Castelfranco Madonna, before recent cleaning. Giorgione's only altarpiece Although he died in his thirties, Giorgione left a lasting legacy to be developed by Titian and 17th-century artists. Giorgione never subordinated line and colour to architecture, nor an artistic effect to a sentimental presentation. He was arguably the first Italian to paint landscapes with figures as movable pictures in their own frames with no devotional allegorical, or historical purpose—and the first whose colours possessed that ardent, glowing, and melting intensity which was so soon to typify the work of all the Venetian School.