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The universality of Titian’s genius is not questioned today, for he was surpassingly great in all aspects of the painter’s art. In his portraits he searched and penetrated human character and recorded it in canvases of pictorial brilliance.
In 1511 Titian painted his celebrated frescoes in the ‘Scuola del Santo’ in Padua. His style had now reached maturity, marked by fullness of forms, compositional confidence and chromatic balance. These features made his work fundamental to the development of Venetian – and also European – painting.
- An Allegory of Prudence
- Bacchus and Ariadne
- Noli me Tangere
- La Schiavona Portrait of a Lady ('La Schiavona')
- Portrait of a Young Man
- Portrait of Gerolamo (?) Barbarigo
- Portrait of Girolamo Fracastoro
- The Aldobrandini Madonna
- The Holy Family with a Shepherd
- The Tribute Money
- The Vendramin Family
- The Virgin suckling the Infant Christ
- A Boy with a Bird
- The Music Lesson
- The Trinity ('La Gloria')
During his long life, Titian's artistic manner changed drastically, [7] but he retained a lifelong interest in colour. Although his mature works may not contain the vivid, luminous tints of his early pieces, they are renowned for their loose brushwork and subtlety of tone.
Titian contributed to all of the major areas of Renaissance art, painting altarpieces, portraits, mythologies, and pastoral landscapes with figures. Titian trained under two other seminal Venetian artists, Giovanni Bellini (active by 1459, died 1516) and Giorgione (1477/78–1510).
Jan 5, 2020 · However, it was through Titian's artistic talents and mastery of color that Venetian painting developed into the more dominant, popular style within Italy and inspired the later emergence of Baroque art.
This introductory essay addresses consistent factors in Titian’s practice, of which there are many, as well as changes as he grew older. These include the introduction of new materials such as smalt, a pigment that can lose its original blue colour.
The canvases and their preparation are described, showing the evolution in his choice of imprimitura. Titian was traditionally believed to have worked directly with paint, without first drawing his composition on the support, but infrared reflectography has dispelled this myth.
