Giorgione evidently executes commissions for numerous private patrons.

The deep shadows and resonances in his so-called “Fete Champetre,” painted in about 1510, mark the development of the full potential of oil color as an expressive tool.

He creates a self-portrait in 1510.

(It is held at the Museum of Fine Arts in Budapest, from which it was stolen on November 5, 1983, and recovered in Operation Budapest.)

Giorgione dies of the plague in September or October 1510.

The Sleeping Venus, also known as the Dresden Venus, is a painting by Giorgione, with, it is now generally accepted, the landscape and sky, by Titian, completed after Giorgione's death in 1510, as Vasari first noted.

It is today in the Gemäldegalerie, Dresden.

One of the last works by Giorgione, the painting portrays a nude woman whose profile seems to follow that of the hills in the background.

Giorgione had put a great deal of effort into painting the background details and shadows.

The choice of a nude woman marks a revolution in art, and is considered by some authorities one of the starting points of modern art.

The painting is unfinished at the time of his death.

The landscape and sky are later finished by Titian, who will later paint the similar Venus of Urbino.

Underlying erotic implications are made by Venus's raised arm and the placement of her left hand on her groin.

The sheets are painted in silver, being a cold color rather than the more commonly used warm tones for linens, and they are rigid looking in comparison to those depicted in similar paintings by Titian or Velázquez.

The landscape mimics the curves of the woman's body and this, in turn, relates the human body back to being a natural, organic object.

The pose of the figure has been connected with a figure in one of the woodcut illustrations to Hypnerotomachia Poliphili of 1499, but a nude of this size, as a single subject, is unprecedented in Western painting, and to a large extent determines the treatment of the type for centuries to come, excluding, for example, the more explicit treatment in the contemporary engravings of Giovanni Battista Palumba.

Although prints had contained many more nude female figures, the two famous paintings of Botticelli, the Birth of Venus and the Primavera, are the closest precedents in painting.

The contemplative attitude toward nature and beauty of the figure is typical of Giorgione.

The composition of this painting will influence later painters such as, Ingres and Rubens.

A direct link connects the Venus of Giorgione to that of Titian, and his Venus will lead directly to the Olympia of Manet.