|
|
|
|
|
This early portrait
Painting ID:: 61109
|
Titian
This early portrait
This early portrait (c. 1512) was long wrongly believed to be of Ariosto; it is more likely a self-portrait, and the composition was borrowed by Rembrandt for his own self-portraits.
|
| |
|
|
|
|
|
|
|
|
|
Salome, or Judith
Painting ID:: 61118
|
Titian
Salome, or Judith
Salome, or Judith; this religious work also functions as an idealized portrait of a beauty, a genre developed by Titian, supposedly often using Venetian courtesans as models.
|
| |
|
|
|
|
|
|
|
|
|
It took Titian two years
Painting ID:: 61120
|
Titian
It took Titian two years
It took Titian two years (1516?C1518) to complete the oil painting Assunta, whose dynamic three-tier composition and color scheme established him as the preeminent painter north of Rome.
|
| |
|
|
|
|
|
|
|
|
|
Titian state portrait of Emperor Charles V at Mehlberg established a new genre,
Painting ID:: 61135
|
Titian
Titian state portrait of Emperor Charles V at Mehlberg established a new genre,
Titian's state portrait of Emperor Charles V at Mehlberg (1548) established a new genre, that of the grand equestrian portrait. The composition is steeped both in the Roman tradition of equestrian sculpture and in the medieval representations of an ideal Christian knight, but the weary figure and face have a subtlety few such representations attempt.
|
| |
|
|
|
|
|
|
|
|
|
Titian unmatched handling of color is exemplified by his Danae,
Painting ID:: 61136
|
Titian
Titian unmatched handling of color is exemplified by his Danae,
Titian's unmatched handling of color is exemplified by his Danae, one of several mythological paintings, or "poesie" ("poems") as the painter called them, done for Philip II of Spain. Although Michelangelo adjudged this piece deficient from the point of view of drawing, Titian and his studio produced several versions for other patrons.
|
| |
|
|
|
|
|
|
|
|
| Prev Artist Next Artist
|
|
|
Titian
|
|
Italian High Renaissance Painter, ca.1485-1576
Italian painter active in Venice. As a young man he was taught by the Bellini family and worked closely with Giorgione. His early works are so similar in style to Giorgione's as to be indistinguishable, but soon after Giorgione's early death Titian established himself as the leading painter of the Republic of Venice. Among his most important religious paintings is the revolutionary and monumental Assumption (1516 ?C 18) for Santa Maria dei Frari, in which the Virgin ascends to heaven in a blaze of colour accompanied by a semicircle of angels. Titian was also interested in mythological themes, and his many depictions of Venus display his work's sheer beauty and inherent eroticism. Bacchus and Ariadne (1520 ?C 23), with its pagan abandon, is one of the greatest works of Renaissance art. Titian was sought after for his psychologically penetrating portraits, which include portrayals of leading Italian aristocrats, religious figures, and Emperor Charles V. He reached the height of his powers in The Rape of Europa (c. 1559 ?C 62), one of several paintings done for Philip II of Spain. He was recognized as supremely gifted in his lifetime, and his reputation has never declined. |
|
Related Artists::.
| Michael Conrad Hirt | ASPERTINI, Amico | Thomas Rowlandson | |
|
