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1514/1529
- Painted by Giovanni Bellini and Titian at the request of Alfonso d’Este, Feast of the Gods (1514/1529) is the most important mythological painting from the Renaissance now in North America.
www.nga.gov/collection/highlights/bellini-titian-the-feast-of-the-gods.html
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Francesco Vecellio, his older brother, was introduced to painting by Titian (it is said at the age of twelve, but chronology will hardly admit of this), and painted in the church of S. Vito in Cadore a picture of the titular saint armed. This was a noteworthy performance, of which Titian (the usual story) became jealous; so Francesco was ...
In Titian’s earlier Diana and Actaeon, painted for King Philip II of Spain in 1556–9 and now jointly owned by the National Gallery and the National Galleries of Scotland, Actaeon disturbs the goddess Diana and her nymphs at... This is one of Titian’s earliest surviving works.
Titian was also commissioned to paint prestigious public religious paintings. His Venetian success was sealed by the execution of the altarpiece for the high altar of the important Franciscan church of Santa Maria Gloriosa dei Frari in Venice.
In 1590, the art theorist Giovanni Lomazzo declared him “the sun amidst small stars not only among the Italians but all the painters of the world.” The universality of Titian’s genius is not questioned today, for he was surpassingly great in all aspects of the painter’s art.
- Titian is widely considered the greatest Italian Renaissance painter of the Venetian school. He was recognized early in his own lifetime as a supre...
- Italian painter Titian was born in the small village of Pieve di Cadore, located high amid mountain peaks of the Alps, straight north of Venice and...
- Italian painter Titian initially apprenticed with Sebastiano Zuccato, a master of mosaics, in Venice. He soon passed to the workshop of the Bellini...
1550s. On view at The Met Fifth Avenue in Gallery 608. Tales from Ovid’s Metamorphoses inspired Titian to paint what he called poesie, or poetry in paint. Here, Venus tries to stop her lover from departing for the hunt, fearing—correctly—that he would be killed.
In the year 1541 Tiziano painted for the Friars of S. Spirito, in Venice, the altarpiece of their high altar, figuring in it the Descent of the Holy Spirit upon the Apostles, with a God depicted as of fire, and the Spirit as a Dove; which altarpiece becoming spoiled in no long time, after having many disputes with those friars he had to paint ...
