Titian

Titian

• 1.
  Titian Tiziano Vecelli orTiziano Vecellio (1488 – 1576) known in English as Titian was the most important member of the 16th-century Venetian school. Equally adept with portraits, landscape backgrounds, and mythological and religious subjects, Titian was recognized by his contemporaries as "The Sun Amidst Small Stars" (recalling the famous final line of Dante's Paradiso). During the course of his long life, Titian's artistic manner changed drastically but he retained a lifelong interest in color. Although his mature works may not contain the vivid, luminous tints of his early pieces, their loose brushwork and subtlety of polychromatic modulations are without precedent in the history of Western art. Self-Portrait, c. 1567; Museo del Prado, Madrid High Renaissance As a matter of professional and worldly success his position from about this time is regarded as equal only to that of Raphael, Michelangelo, and at a later date Rubens. Titian: Self-Portrait , c. 1550-1562, Staatliche Museen, Berlin, Germany.
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  Giovanni Bellini self portrait ThereTitian found a group of young men about his own age, among them Giorgio da Castelfranco, nicknamed Giorgione, that Titian joined as an assistant. Soon, the two young masters were likewise recognized as the leaders of a new school characterized by more flexible, freed from symmetry and the remnants of hieratic conventions still found in the paintings of Giovanni Bellini. Giorgione self portrait In 1513 Titian obtained a broker's patent, termed La Sanseria or Senseria (a privilege much coveted by rising or risen artists) and became superintendent of the government works. Titian was the eldest son of Gregorio Vecelli (superintendent of the castle of Pieve di Cadore) and his wife Lucia. The family was well-established in the area, which was ruled by Venice. Giorgione died in 1510 and Giovanni Bellini in 1516, leaving Titian for sixty years unrivaled in the Venetian School. During 1516–1530, which may be called the period of his mastery and maturity, Titian moved on from his early Giorgionesque style, undertook larger and more complex subjects and of a monumental style. At the age of about ten, Titian was sent to Venice to enter the studio of the elderly Gentile Bellini and later his brother Giovanni Bellini, at that time the leading artists in the city.
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  Titian painted thelikenesses of princes, or Doges, cardinals or monks, and artists or writers. No other painter was so successful in extracting from each physiognomy so many traits at once characteristic and beautiful. Among portrait-painters Titian is compared to Rembrandt and Velázquez, with the interior life of the former, and the clearness, certainty, and obviousness of the latter. Titian: Empress Isabel of Portugal Titian: Portrait of a Musician Titian: Portrait of the Doge Francesco Venier Titian: La Bella (Eleanora de Gonzaga, Duchess of Urbino, at the Pitti Palace) Titian, a masterful portrait-painter! Titian: Portrait of an Old Man (Pietro Cardinal Bembo)
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  Titian: Portrait ofJacopo (Giacomo) Dolfin Titian: Portrait of Tomaso or Vincenzo MostiTitian: Portrait of a Man in a Red Cap Titian, a masterful portrait-painter! Titian: Portrait of Ippolito dei Medici
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  Titian, a masterfulportrait-painter! Titian: Portrait of Ariosto (early work) Titian: Portrait of Antonio Anselmi Titian:Portrait of a Man Titian Title:Daniele Barbarous
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  Titian: The Young Englishman Titian:A Knight of Maltat Titian, a masterful portrait-painter! Titian Title:Man With a Glove Titian:Young Man with Cap and Glovea
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  Titian: Profane LoveTitian: Flora Titian: Portrait of Laura de Dianti Titian: Portrait of a Young Woman Titian: Woman with a Mirror Titian, a masterful portrait-painter! Titian: Portrait of a Lady 1555 (NGA, Washington)
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  Titian, a masterfulportrait-painter! Titian: Ranuccio Farnese 1542 (NGA, Washington) Titian: The Concert Titian: Clarice Strozzi
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  Titian: St Nicholas Titian:St Matthew Titian: St Jerome Titian, a masterful mythological and religious subjects painter! Titian: St Dominic
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  Titian: The Venusof Urbino Titian:Venus and Cupid with an Organist Titian: Danae and the Shower of Gold Titian: Diana and Actaeon Titian, a masterful mythological and religious subjects painter! Titian: Venus Blindfolding Cupid 1570 (NGA, Washington)
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  Titian: St Mary Magdalene Titian:Mater Dolorosa Titian: Mater Dolorosao Titian: Polyptych of the Resurrection: Virgin Annunciate Titian: Salome Titian, a masterful mythological and religious subjects painter! Salome, or Judith religious work, also functions as an idealized portrait of a beauty, a genre developed by Titian, supposedly often using Venetian courtesansas models.
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  Titian: Sacred andProfane Love, 1514, (Galleria Borghese, Rome) Titian: Cupid with the Wheel of Fortune Titian: Wisdom Titian: Allegory of Time Governed by Prudence (c. 1565–1570) is thought to depict Titian, his son Orazio, and a young cousin, Marco Vecellio. Titian, a masterful mythological and religious subjects painter! Sacred and Profane Love is one of the most famous paintings of Renaissance Italy. It perhaps depicts a Venetian bride dressed in white, sitting beside Cupid and being assisted by Venus in person; or the well dressed woman is Profane Love while the nude woman is Sacred Love.
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  Titian, a masterfulmythological and religious subjects painter! The Crowning with Thorns, year 1542-1543 (Louvre). Commissioned by the confraternity of Santa Maria delle Grazie in Milan; brought to France after the Napoleonic conquest of the city in 1797; once considered it to be the greatest picture ever painted. Titian: Supper at Emmaus Titian: Ecce Homo Titian: The Scourging of Christ
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  Titian, a masterfulmythological and religious subjects painter! Titian: Pesaro Madonna, (better known as the Madonna di Ca' Pesaro) (c. 1519–1526) Titian: Assumption of the Virgin, 1516, completed for the high altar of the church of the Frari. Pesaro Madonna: perhaps his most studied work; a new conception of the traditional groups of donors and holy persons moving in different aerial space and plans; Titian's patron is shown in a devotional pose, kneeling before the Virgin (Titian' wife, who died in childbirth soon after, was used as the model) and presented to her by Saint Peter with his key leading toward the Virgin (at the top of the steps alludes to her celestial role as Madonna della Scala and the Stairway to Heaven); the large red banner displays the papal arms, those of Jacopo below, and olive leaves as symbol of peace; a turbaned Turk and a Moor refer to Jacopo's victory over the Turks in 1502; at the right, Saint Francis of Assisi links the five kneeling Pesaro family to Christ, suggest-ing that salvation can be achieved; behind Saint Francis is Saint Anthony of Padua; the members of the donor's family are motionless; all the other figures gesture energetically and occupy diagonal planes; infant angels appear on the cloud above; the light of Venice, sparkling in its waterways, illuminate this painting. The pictorial structure of the Assumption unites and superimposes scenes on different levels - earth and heaven, the temporal and the infinite - on its golden background, a homage to the tradition of Venetian mosaics. This approach was continued in a series of works that finally reached a classic formula in the Pesaro Madonna.
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  Titian: Federigo Gonzaga, Dukeof Mantua Titian: Portrait of Charles V with a Dog, 1533 (Prado, Madrid). In 1533, after painting a portrait of Charles V, Titian was made a Count Palatine and knight of the Golden Spur and his children also made nobles of the Empire. Charles (Holy Roman Emperor) painted in 1532 by Jakob Seisenegger, but didn't please its subject. In about 1526 he had became intimate, with Pietro Aretino, the influential and audacious figure who features so strangely in the chronicles of the time. Titian sent a portrait of him to Gonzaga, duke of Mantua. Towards 1521 Titian was now at the height of his fame. Cecilia—a barber's daughter from his hometown village of Cadore—was a young woman who had been his housekeeper and mistress for some five years. Cecilia had already borne Titian two fine sons, Pomponio and Orazio (who became his assistant), when in 1525 she fell seriously ill. Titian, wishing to legitimize the children, married her. The marriage was a happy one. In 1530 his wife died giving birth to daughter Lavinia. Titian, a masterful portrait-painter! This new version is similar to its predecessor but completely transforms its composition, stylising Charles' body by increasing the size of the fur wrap, decreasing the size of the doublet, raising the position of the eyes and lowering the horizon to make Charles fill the space. He is also shown approaching the viewer and the space around him has been emptied and simplified, with warmer colours than in the original. It later inspired Goya's 1799 Charles IV in his Hunting Clothes.
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  Equestrian Portrait of CharlesV (1548) Portrait of Pope Paul III Titian portrays Charles heroically, but places him in a calm dawn setting with no signs of battle, achieving a feeling of steadiness and control, yet steely, gaze into the distance. The sense of forward motion is suggested by the angle of the spear and charging horse. The skyscape is considered Titian's best, and has been described as flaming and shadowed, with gold light fighting with blue, deathly clouds set against a landscape which suggests the immensities of space that Charles dominates and the brooding, inner landscape of the soul. Titian's portrait of Philip as prince Titian, a masterful portrait-painter! Note: the lance alludes to Saint George, the traditional image of a military knight-saint; the red around Charles represents the Catholic faith in the wars of the 16th century. Dürer's 1513 engraving Knight, Death and the Devil, rides through dark woods, passing figures representing evil and mortality. In contrast Charles emerges from a dark wood into an open, though brooding landscape. Titianj visited Rome in 1546, and obtained the freedom of the city—his immediate predecessor in that honor having been Michelangelo in 1537. Summoned from Venice in 1547 to paint Charles V, he returned in 1550 and executed the portrait of Philip II which was sent to England and proved useful in Philip's suit for the hand of Queen Mary.
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  During the lasttwenty-six years of his life (1550–1576) the artist worked mainly for Philip II and as a portrait-painter. He became more self-critical, an insatiable perfectionist, keeping some pictures in his studio for ten years, never wearying of returning to them and retouching them, constantly adding new expressions at once more refined, concise, and subtle. He had selected as the place for his burial the chapel of the Crucifix in the Santa Maria Gloriosa dei Frari, the church of the Franciscan Order; in return for a grave, he offered the Franciscans a picture of the Pietà. Titian was probably in his late eighties when the plague raging in Venice took him on 27 August 1576. He was the only victim of the Venice plague to be given a church burial. He was interred in the Frari (Santa Maria Gloriosa dei Frari), as at first intended. He lies near his own famous painting, the Madonna di Ca' Pesaro. No memorial marked his grave, until much later the Austrian rulers of Venice commissioned Canova to provide the large monument. Immediately after Titian's own death, his son and assistant Orazio died of the same epidemic. His sumptuous mansion was plundered during the plague by thieves. The picture represents the Madonna supporting the body of Christ, with the help of a kneeling Nicodemus. The latter is probably a self- portrait of Titian, represented as if he saw his also upcoming death in the Christ's face. On the left, standing, is Mary Magdalene. A small self-portrait, together with his son Orazio, is shown in the base of one of the columns surrounding the niche. The picture is generally considered Titian's last: an inscription in the lower part of the picture notes that it was finished by Palma the Younger. Titian: Pietà, year1575–1575, Oil on canvas, 389 cm × 351 cm (Gallerie dell'Accademia, Venice). Pietà is the last painting by Titian
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  References artDatabase art appon the App Store Wikipedia http://en.m.wikipedia.org/wiki/Titian The Metropolitan Museum of Art, NY, http://www.metmuseum.org/toah/hd/tita/ hd_tita.htm Titian, the complete works http://www.titian-tizianovecellio.org The National Gallery, UK, http://www.nationalgallery.org.uk/artists/titian bio. http://www.biography.com/people/titian-21322389 Web Museum http://www.ibiblio.org/wm/paint/auth/titian/ BBC Paintings http://www.bbc.co.uk/arts/yourpaintings/artists/-titian Artcyclopedia http://www.artcyclopedia.com/artists/titian.html