He became the painter and doyen of the wealthy Venetian intellectual classes, and was a close friend of the writer and publicist Pietro Aretino, who did a great deal to establish Titian's fame during his lifetime.
His best known masterpieces include the huge altarpiece of the Assumption of the Virgin , S. Maria dei Frari , Sacred and Profane Love c. Note: Compare the Venetian preference for colorito in painting, versus the Florentine preference for disegno. For a short review of the artist's unique talent as a colourist, see: Titian and Venetian Colour Painting c. Bacchanal of the Andrians Prado, Madrid. For the top allegorical painting, see: Best History Painters. Titian was born Tiziano Vecellio to a well-established wealthy family, in a small village near Belluno in Northern Italy.
He was the second of the five children of Gregorio Vecellio, a notary from Cadore. Little is known of his early life, except that at the age of 10, his father - recognising his son's artistic talent - sent him to Venice to study art.
He first trained under the mosaicist Sebastiano Zuccati and then in the Bellini studio under Gentile Bellini c. Giovanni's passion for the sensuous use of colour had a huge impact on the young Titian. Giorgione: Titian's Real Teacher. The year was decisive in Titian's early career for it was then that he and Giorgione - another pupil of Bellini - were commissioned to decorate in fresco the Fondaco dei Tedeschi.
Giorgione was to paint the main front from the Grand Canal, while Titian was to do the wall giving on to the Merceria. Only a few fragments survive of this work, while the rest must be seen in the engravings made by Zanetti in the 18th century. If these few scraps are any proof, Titian's real teacher was Giorgione, who impressed on him his way of suggesting forms rather than stressing them, as well as conveying his feelings abour nature. But it is also true that from the beginning the pupil differed from the master, whose contemplative lyricism he did not share, or his indifference to earthly reality.
Note : Giorgione died 2 years later in , and Titian went on to finish some of his works, in a Giorgionesque manner.
Endowed with a dramatic temperament and considerable nervous energy, Titian put the lessons of 15th-century naturalism to good use in the religious paintings for the Scuola del Santo in Padua The Miracle of the Newly Born Child , The Healing of the Wrathful Son , The Miracle of the Jealous Husband , executed in In these scenes he organizes his space into a rhythmic composition that stresses a succession of volumes enveloped in bold, contrasting colours.
Some of Titian's works, displaying a progressive detachment from Giorgione, are thought by today's critics to be earlier than , or at least contemporary. Already an obvious sensitivity to effects of space and colour is visible, alien to Giorgione, and Titian can be seen exploring new themes and the 'constructive' use of colour.
In his Portrait of a Man with a Blue Sleeve National Gallery, London the presentation, which is still Giorgionesque, is simplified by the employment of several large planes: the fullness of a sleeve, the puffed-out satin clothes, the projection of the image by the sharp division of the balcony. The wood-engraving of the Triumph of the Faith c. This period gave birth to works in which the demarcation line between the hands of the two artists is hard to distinguish.
Rocco are all full of a Giorgionesque feeling. Renaissance-Style Classicism. After the Baptism of Christ c. This last is one of the highest peaks of Titian' s classicism and, in the peaceful harmony of the landscape and beauty of the figures, one of the supreme expressions of Renaissance art. In his later career, Titian focused more on religious and mythological works.
Titian again explored his fascination with the Roman goddess of love in "Venus and the Lute Player" Titian continued to paint until his death, on August 27, , in Venice. He reportedly died of the plague. The same illness had claimed the life of his son, Orazio, a few months later. His other son, Pomponio, sold his father's house and its contents in Some of the artwork there can now be found in museums around the world, including the Hermitage in St.
Through the wealth of works he left behind, Titian has inspired countless generations of artists. We strive for accuracy and fairness. If you see something that doesn't look right, contact us! Subscribe to the Biography newsletter to receive stories about the people who shaped our world and the stories that shaped their lives.
Sandro Botticelli was an Italian painter of the early Renaissance-era. Caravaggio, or Michelangelo Merisi, was an Italian painter who is considered one of the fathers of modern painting. The composition of the picture contains elements found in the work of Giorgione whose style had a significant influence on Titian at the beginning of his career.
The woman to the left is dressed in wedding attire and may represent carnal love and beauty. In contrast, the nude is usually read as spiritual love, a symbol of simplicity and purity. The position of Eros, at the center of the two, therefore, may indicate the point of mediation between spiritual and carnal desires. In May of he married Laura Bagarotto, daughter of the jurist Bertuccio Bagarotto who had been executed some months before the wedding on charges of betraying the Serenissima Republic.
It is probable that the painting was commissioned to celebrate the marriage. It has been suggested that the relief design on the front of the trough symbolizes life and death, inviting the newly wed Laura, to overcome the sorrow for the loss of her father and flourish in marital love, both spiritual and physical.
Alternative readings for this design include symbolism for the taming of passions or hidden literary references. This painting depicts the ascension of the Virgin into heaven. Mary forms the focal point of the composition on a cloud surrounded by putti, where she looks upwards towards God at the top of the image.
At the bottom, the apostles raise their arms towards Mary, watching in amazement as the miracle unfolds. The work is divided into three bands and these are physically connected by outstretched hands as well as through the repetition of looks and gestures.
The Virgin and two of the apostles wear red robes and this creates a visual pyramid which draws the eye upwards. This structured use of color and composition particularly the division into thirds was a key element of many Renaissance paintings. There is, however, a clear sense of movement and drama within the piece; Mary seems surprised and the apostles are shown in a very agitated state which was in contrast to their usual serene depiction.
This is further enhanced by Titian's use of light and shadow to present the apostles as a mass of bodies rather than highlighting their individuality. This demonstrates Titian's awareness of developments in High Renaissance painting in Florence and Rome and his incorporation of these new ideas into his work. Titian also broke with tradition by omitting all details of the landscape in which the image is situated to focus on the events and emotions of the piece, although the sky above the apostles' heads suggests the setting is outside.
This was Titian's first major painting for a church in Venice and consequently his first piece to draw significant public attention. Painted as an altarpiece panel for the Frari church, Titian realized the commission on a large scale with the figures more than life size. The church had a considerable distance between the altar and congregation and the canvas' size and vibrant colors allowed those in the nave of the church to see the image.
The painting was designed specifically for the space and the rounded top of the canvas echoes the shape of the choir screen through which most people would view it and the rich golds and yellows around God replicate the light pouring through the windows above the altar, linking the painting closely to it environment. It has been suggested that initial reactions to the work were mixed as viewers were unused to images painted in this more emotional and movement-based style.
This painting comes from a long tradition of representations of Venus and it appears to have been based on Giorgione's Sleeping Venus , although Titian's interpretation of the goddess is much more erotic. This sensuality is heightened by the directness of the nude's gaze, her faint smile, and her awareness of the viewer, along with the depiction of her in an opulent domestic environment without the allegorical or mythological symbols traditionally associated with Venus. Whilst Giorgione's nude is idealized and demure, Titian's is realistic and tempting.
The warm, light tones of her skin are in contrast to the darker, richer background and the play of light on her body and subtle use of chiaroscuro gives a sculptural quality to the nude. Her curves also contrast with the regularity of architectural elements including the tiled floor, classical column, and green hanging which bisects the scene, highlighting the fertile center of the figure. There is a significant debate about the interpretation of the image with some arguing that it is a painting of courtesan Angela Zaffetta whilst others have suggested that it is a marriage portrait commissioned by Guidobaldo to celebrate his nuptials to the year-old Giulia Varano in Evidence for this latter theory comes in the form of the symbolism of the sleeping dog loyalty and the two servants at the cassone, a trunk in which a trousseau of clothes given to the bride by her husband's family would be kept.
This image is considered one of the most famous and accomplished examples of the genre and over the centuries the canvas has inspired numerous other works which borrow from the image, utilizing the relaxed pose of the subject, the wider composition, and the suggestive representation of the nude. Olympia is lying in the same position as Venus, with eyes that shamelessly meet those of the viewer, however, she is not a goddess, but a prostitute lying in the room in which she works.
Manet's painting demonstrates the powerful influence of Titian's Venus in representing fleshy and sensual feminine beauty. The painting was commissioned by Charles' sister, the Queen of Hungary and created to celebrate his victory in the battle of Muhlberg against the German Protestants.
Charles V is represented on horseback, as a true soldier, fighting for Catholicism against the threat of Protestantism.
In his right hand he holds a spear, a reference to St. George suggesting military prowess and bravery in fighting a foe. The red of the sash and the horse's caparison symbolize the Catholic faith.
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