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It was the nude Venus, however, that quickly became one of the most famous works of art of the ancient world, and turned Knidus into a destination both for devotees of Venus and for art lovers. Left: Colonna Venus, 2nd century A.D. Roman copy after the Aphrodite of Knidos by Praxiteles, 4th century B.C. Marble, H. 204 cm. Vatican Museums, Pius ...
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Of the three painters who dominated Venetian art in the...
- Venice
Mar 21, 2019 · CONTENTS 01 Caletti, Giuseppe 02 Portrait of a Man as Saint George 17 Caliari, Benedetto 18 Saint Jerome in the Wilderness 25 Caliari, Gabriele 26 Saint Lucy and a Donor 35 Pace, Gian Paolo
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Inspired by such Italian artists of the High Renaissance as Michelangelo, Titian was considered a master within the accomplished artistic circles of 16th-century Venice. He has also been cited as the first Venetian painter to earn international standing.
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- Early life and works
Titian is widely considered the greatest Italian Renaissance painter of the Venetian school. He was recognized early in his own lifetime as a supremely great painter, and his reputation in the intervening centuries has never declined.
Where was Titian born?
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 not far from the Austrian Tyrol. At age nine he set out for Venice with his brother, Francesco, to live there with an uncle and to apprentice himself to an artist.
Who did Titian learn from?
Italian painter Titian initially apprenticed with Sebastiano Zuccato, a master of mosaics, in Venice. He soon passed to the workshop of the Bellini family, however, where his true teacher became Giovanni Bellini, the greatest Venetian painter of the day.
Titian (born 1488/90, Pieve di Cadore, Republic of Venice [Italy]—died August 27, 1576, Venice) the greatest Italian Renaissance painter of the Venetian school. He was recognized early in his own lifetime as a supremely talented painter, and his reputation has in the intervening centuries never suffered a decline. 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 traditional date of Titian’s birth was long given as 1477, but most later critics favoured the date of 1488/90. Titian was the son of a modest official, Gregorio di Conte dei Vecelli, and his wife, Lucia. He was born in the small village of Pieve di Cadore, located high amid mountain peaks of the Alps, straight north of Venice and not far from the Austrian Tyrol. At the age of nine he set out for Venice with his brother, Francesco, to live there with an uncle and to become an apprentice to Sebastiano Zuccato, a master of mosaics. The boy soon passed to the workshop of the Bellini family, where his true teacher became Giovanni Bellini, the greatest Venetian painter of the day. Titian’s early works are richly evident of his schooling and also of his association as a young man with another follower of the elderly Giovanni Bellini—namely, Giorgione of Castelfranco. Their collaboration in 1508 on the frescoes of the Fondaco dei Tedeschi is the point of departure for Titian’s career, and it explains why it is difficult to distinguish between the two artists in the early years of the 16th century. Only ruined outlines of the frescoes survive, the Allegory of Justice being the chief scene assigned to Titian. The etchings (1760) of the frescoes by Antonio Maria Zanetti, already in a much faded condition, give a better notion of the idealism and the sense of physical beauty that characterize both artists’ work. The problem of distinguishing between the paintings of Giorgione and the young Titian is virtually insuperable, for there is little solid evidence and even less agreement among critics about the attribution of several works. The tendency among Italian writers was to assign far too much to Titian in his youth.
It is certain that Titian’s first independent commission was for the frescoes of three miracles of St. Anthony of Padua. The finest in composition is the Miracle of the Speaking Infant. Another, the Miracle of the Irascible Son, has a very beautiful landscape background that demonstrates how similar in topography and mood are Titian’s and Giorgione’s works of this time. In fact, after Giorgione’s death in 1510, Titian assumed the task of adding the landscape background to Giorgione’s unfinished Sleeping Venus, a fact recorded by a contemporary writer, Marcantonio Michiel. Still Giorgionesque is the somewhat more lush setting of Titian’s Baptism of Christ (c. 1515), in which the donor, Giovanni Ram, appears at the lower right.
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The authorship of individual portraits is the most difficult of all to establish, but the Gentleman in Blue (once considered to be a portrait of Italian poet Ludovico Ariosto) is certainly Titian’s because it is signed with the initials T.V. (Tiziano Vecellio). The volume and the interest in texture in the quilted sleeve seem to identify Titian’s own style. On the other hand, The Concert has been one of the most debated portraits, because since the 17th century it was thought to be most typical of Giorgione. The pronounced psychological content as well as the notable clarity of modelling in the central figure led 20th-century critics to favour Titian. Technique and the clear intelligence of the young Venetian aristocrat in the Young Man with Cap and Gloves led modern critics to attribute this and similar portraits to Titian.
The earliest compositions on mythological or allegorical themes show the young artist still under the spell of Giorgione in his creation of a poetic Arcadian world where nothing commonplace or sordid exists. The inspiration lies in the idyllic world of the love lyrics of the 16th-century Italian poets Jacopo Sannazzaro and Pietro Bembo. The Three Ages of Man, where the erotic relationship of the young couple is discreetly muted and a mood of tenderness and sadness prevails, is one of the most exquisite of these. The contemporary Sacred and Profane Love is likewise set in a landscape of extraordinary beauty, but here the allegory is less easily understood. The most generally accepted interpretation holds that the two women are the twin Venuses, according to Neoplatonic theory and symbolism. The terrestrial Venus, on the left, stands for the generative forces of nature, both physical and intellectual, while the nude Venus, on the right, represents eternal and divine love. Essentially an ideally beautiful young woman rather than a cruel biblical antiheroine is the lovely Salome.
Of the three painters who dominated Venetian art in the sixteenth century, Titian was by far the oldest. Universally admired, even by Vasari, despite the latter’s bias against colore in favor of disegno (drawing) , he was the first Italian artist to garner a truly international reputation, becoming the chosen painter of a papal family and two ...
Peter Humfrey, “Titian, Italian 16th Century/Venus and Adonis/c. 1540s/c. 1560-1565,” Italian Paintings of the Sixteenth Century, NGA Online Editions, https://purl.org/nga/collection/artobject/1223 (accessed October 31, 2024).
Jul 24, 2019 · Perhaps his most famous work, Botticelli’s “Birth of Venus” was painted circa 1485, at the height of his powers. The goddess of love stands modestly atop a giant shell, born by the winds...
