Titian Vecellio. Venetian Renaissance
Titian is a great Venetian artist, one of the titans of the Renaissance. His work is filled with the beauty and joy of life, faith in the happiness of man. The extraordinary richness, subtlety and festivity of colors made him one of the greatest painters in the world. He lived for about a hundred years and left the world many brilliant works. The themes of his paintings are diverse: mythology and religion, portrait and landscape, in many works he brings up a beautiful naked human body.
In the early period, Titian worked with Giorgione, and his works of this period have something in common with the works of Giorgione, for example, Love on Earth and Heaven, Flora - they are serene in mood, sultry and deep in colors.
But Titian, compared to Giorgione, is less lyrical and refined, his female images are more earthly, but no less charming in their own way. From them emanates a soothing breath of spiritual freshness and health. Calm, golden-haired, puffy women of Titian - sometimes naked, sometimes in rich outfits - it’s like unperturbed nature itself, shining with “eternal beauty”, neither kind nor evil, neither smart nor stupid, and in its frank sensuality absolutely chaste.
Working in various genres, Titian continuously improved his pictorial "technique" and achieved in it such perfection, such freedom and courage, which struck then and strikes now.
Titian lived for 99 years, and the most fruitful and most significant was the later period of his life. At the end of his life, a disaster befell the country: an epidemic of plague devastated it, and Titian died from the plague.
Danae (1546)
Denarius Caesar (c.1516)
Penitent Mary Magdalene (1565)
Earthly Love and Heavenly Love (1516)
Do not touch me!
Portrait of Charles V with a dog (1533)
Portrait of Paul III with great-nephews (1546)
Before us is a work of Shakespeare's warehouse: a portrait of Pope Paul III, the main patron of the Inquisition, imperious, cunning and active; with him - his great-nephews - Alessandro and Ottavio Farnese.
Terrible in its adamant realism portrait. Distrust and secret enmity binds all three. A predatory and decrepit old man in a papal robe resembles a cornered rat, which is ready to rush somewhere to the side, but the paths are cut off. The falsely obsequious Ottavio whispers something to the Pope. He is opposed by the intelligent, outwardly calm Alessandro.
The picture feels the atmosphere of impending betrayal, deceit, intrigue. And later, these servile vassals really betrayed their master and uncle, Titian foresaw what was to happen in reality.
Death of Actaeon
Saint Saint Bastian (c.1570)
Venus in front of a mirror (1555)
Salome (c. 1515)
Bacchus and Ariadne
This work was made by Titian to decorate the Ferrara Palace d'Este.
The picture depicts the meeting of Bacchus and, by the will of the gods, Ariadne, abandoned by Tesem. Seeing a beautiful girl, Bacchus descends from his chariot drawn by leopards to lift her to him. Ariadne turns away in fright from the god of wine. The silhouette of Ariadne stands out against the background of the sea and sky. Bacchus rushes towards her in a swift movement, whose beautiful body is covered with the only clothes in the form of a fluttering bright pink cloak. Behind Bacchus is the procession of his companions: these are dancing nymphs with tambourines, and girls carrying vessels for wine, and satyrs. All of them form a single festive crowd, reveling in the joys of life.
The scenery surrounding the stage is beautiful. High above the dancing nymphs and fauns, the trees spread their colorful crowns. At the very horizon, you can see the mythical city almost dissolved in a haze. Thin white clouds seem to cut through the sky.
The work is amazingly decorative. But still, the main thing in it is a silent dialogue between Ariadne, with her whole being striving for the sea, where the sail of Theseus' sailing ship can still be seen, and Bacchus, as if telling her by this that Theseus belongs to the past, and all her future is connected with him.
Venus of Urbino (1538)
Madonna and Child with St. Catherine, St. Dominic and St. Dokor (1514)
Flora (1517)
Portrait of Isabella of Portugal (1548) - wife of Charles V
Man with glove (1525)
Woman in front of a mirror (1515)
Assumption of the Virgin (1518)
Titian is an Italian artist whose contribution to world painting cannot be overestimated. The work of Titian is often put on a par with the paintings of Michelangelo, and the details of the artist's biography are still of interest to both art historians and connoisseurs of beauty.
By the age of 30, the painter had earned the fame of the most talented creator in Venice, and after a while he became known to the rest of the world as an unsurpassed master.
Titian Vecellio - this is the full name of the artist - was born in the Italian town of Pieve di Cadore. There are still disputes about the exact year of the master’s birth: based on various sources, Titian was born in the period from 1488 to 1490. In addition, a letter from Titian to the Spanish monarch Philip II has been preserved, in which the already elderly artist names the year of his birth as 1474. However, the most probable dates are 1488 and 1490.
Titian's talent manifested itself from early childhood, and already at the age of 10, his father sent his son to Venice to study with Sebastiano Zuccato, the eminent mosaic master. After some time, the young man went to study at the workshop of the Bellini family of painters and sculptors, where he met talented masters of that time, and also gradually began to hone his own style of painting.
It is known that the artist Giorgione became a close friend and inspiration for Titian at that time, and the young man performed the first serious works (we are talking about frescoes for the Venetian palace of Fondaco dei Tedeschi) together with him. Unfortunately, only small fragments of these frescoes have survived.
From the earliest works, Titian paid much attention to ecclesiastical and mythological subjects. The most famous works of the initial period of the master's work were "Portrait of Gerolamo Barbarigo" and "Madonna and Child with Saints Anthony of Padua and Rock." Both paintings were painted between 1509 and 1511.
Titian, Madonna and Child, Saints Roque and Anthony of Padua The saints for the "Madonna and Child" were not chosen by chance - Anthony of Padua and Roque, according to the artist's contemporaries, protected from the plague. In 1510, Titian's friend and mentor, Giorgione, died because of this terrible disease. After his death, Titian spent several months finishing the paintings that Giorgione did not complete.
Titian's work of that period is dedicated to female beauty: the artist painted dozens of Madonnas and portraits of pretty townswomen. Ladies from the master's paintings are characterized by calmness and inner peace. Of the features of the style, art historians note the purity of colors and the spatial depth of the paintings. The most famous works of the mid-1510-1520s are still "Gypsy Madonna", "Woman with a Mirror", "Earthly Love and Heavenly Love".
Titian, "Gypsy Madonna" With the death of Giorgione, who was considered the best Venetian painter, this title passed to Titian. By that time, the artist had finally developed his own style. Titian still remained faithful to the plots of biblical mythology, but his paintings gradually began to show monumentality, “breadth of scope”, which to this day delights connoisseurs of art. The master arranged the compositions of some canvases diagonally, which also gave the paintings vitality, and the audience - a sense of "movement" of images. Such are the "Ascension of the Mother of God", "Bacchus and Ariadne", "Madonna Pesaro".
Titian, "Bacchus and Ariadne" In 1533, Titian was awarded the noble title of Count Palatine. At this time, the artist painted mostly portraits. The master did not refuse the orders of ordinary citizens and the nobility, but he also painted according to his own choice. Titian easily managed to capture the main thing in the image of a person - character, mood, kindness, or, on the contrary, deceit and hypocrisy. The artist did not spare anyone, showing the truth on his canvases. In addition to single portraits, Titian also took on group works that replaced photographs at that time - such canvases were especially liked by wealthy citizens and the nobility.
Titian, Flight into Egypt A feature of the "Titian" portraits, art historians call careful work with flowers. It was with the help of bright colors, sharp or smooth transitions between shades, light and shadow that Titian achieved the psychologism of his paintings. Each hero of the master's paintings seems to be animated, the artist managed to convey even the fleeting emotions of people. The most outstanding portrait works of Titian are “Portrait of Federico Gonzaga”, “Portrait of the architect Giulio Romano”, “Portrait of Charles V with a dog”, as well as the paintings “Beauty” and “Penitent Magdalene”.
Titian, "Flora" Titian's talent allowed the master to travel a lot: the artist visited many Italian cities. Invitations of noble people who wanted to receive a portrait by Titian became permanent. The master also traveled to other countries. So, in 1545, the artist was honored to paint a portrait of Pope Paul III, and three years later, in 1548, he went to Germany to perpetuate the appearance of Charles V.
There is a legend that while working on a portrait of this monarch, Titian once awkwardly turned around and dropped his brush. Then Emperor Charles V himself bent down to give the brush to the artist and said that he considered it an honor to serve Titian himself.
Titian, "Allegory of Prudence" The mid-1540s is considered the heyday of the artist's mature work. It was at this time that Titian created the masterpieces “Coronation with Thorns”, “Behold the Man”. Also, several different versions of Danae appear from under the master’s brush. Biblical motifs still dominated the artist's works, but the main motive was the beauty of the human body - the way God intended it. Titian managed to convey vitality, emotionality and spiritual beauty in facial features, spiritual poses, frozen gestures. Even the most complex characters are easily read on the canvases of the master.
Titian Vecellio, "Danae" The years 1550-1560 in the work of Titian are marked by the paintings “Allegory of Prudence”, “Portrait of a Man in a Military Costume”, “Girl with a Fan”, mythological subjects of “Venus and Adonis” and “Diana and Actaeon”, as well as the biblical “Penitent Mary Magdalene” and Carrying the Cross. In the same years, the artist also painted a self-portrait, in which he depicted his own image with a brush in his hand.
Titian, Penitent Mary Magdalene (detail) The main feature of the artist’s later paintings is called color chromatism by art critics. Titian attached importance to shades of color, their mixing, smooth or contrasting transitions. With the help of jewelry work with flowers, the master conveyed what he wanted to tell the viewer: the emotions of the people depicted, the weather, the mood of the plot of the paintings. An interesting fact: at the end of his life, Titian tried a new way of applying paint to canvas. The artist abandoned the usual brushes and began to transfer the paint with his hands and a spatula. Such strokes lay unevenly, in some places a blank canvas remained visible, but this technique helped the master to create paintings full of drama and emotion.
Titian, "Venus of Urbino" The most famous creations of that period were "The Entombment", "Venus Blindfolding Cupid", "Coronation with Thorns" and, of course, "Pieta". The last named picture was also the last work in the life of the great painter. The composition and play of color that Titian demonstrated on this canvas is still held up as an example of the painting of the "Titian" era. Unfortunately, "Pieta" remained unfinished due to the death of the artist.
Little is known about Titian's personal life. The artist was married, the wife of the master was named Cecilia Soldano. The woman gave her beloved two sons and two daughters. Unfortunately, during the fourth birth, in 1530, Cecilia died.
The plague that raged at that time in Europe did not spare anyone. In 1576, the "terrible plague" took the life of his son Titian. Soon the master realized that he himself contracted this disease while caring for his son. August 27, 1576 the artist died. It is believed that the masters were found on the floor of the workshop with a brush clutched in his hand.
Titian, self-portrait Despite the law that ordered the bodies of those who died from the plague to be burned, Titian was buried in the ground. The artist's grave is located in the Cathedral of Santa Maria Gloriosa dei Frari, in his native Venice. The inscription is immortalized on the tombstone: "Here lies the great Titian Vecellio - the rival of Zeus and Apelles."
The artist's works greatly influenced the work of subsequent generations of European masters. The unusualness of his late technique did not resonate with his contemporaries, but later became popular in many art schools for decades.
The Austrian writer Hugo von Hofmannsthal was so inspired by the master's works that he wrote a play called The Death of Titian. In addition, the painting “Caesar's Denarius” was also reflected in literature, under the impression of which Fyodor Dostoevsky wrote a chapter in the novel “The Brothers Karamazov”.
Titian Vecellio- Italian painter of the Renaissance.
"Here lies the great Titian Vecelli -
rival of Zeus and Apelles"
Titian, or Titian Vecellio, was born near Venice, in the town of Pieve di Cadore. It has not yet been possible to establish its exact date - scientists are still arguing about this. Some argue that in 1576, when the artist died, he was 103 years old, others - 98 - 99 years old. Most are inclined to believe that Titian lived for more than 80, but not more than 90 years. Therefore, he was born somewhere in the period 1485 - 1490.
The Vecellio family had four children - two girls and two boys. Father - Gregorio Vecellio - was a mine inspector and head of the people's militia, that is, the family was not rich, but not poor either.
At the age of 10 or 12, Titian came to Venice. He worked in the workshop of Sebastiano Zuccato, then in the workshop of Gentile Bellini, then with Giovanni Bellini. He meets Lorenzo Lotto and other artists, representatives of the Venetian school of painting. But his closest relationship is with Giorgione. The first works of Titian, carried out jointly with Giorgione, were frescoes in the Fondaco dei Tedeschi, of which only fragments have survived.
Nothing is known about the education received by Titian. We only know that the artist did not read Latin - it was she who at that time was a sign of a good education. Most of Titian's letters were written by other people at his request. However, this did not prevent his friendship with many writers. For example, the poet Pietro Aretino was his closest friend. Contemporaries described Titian as a very sociable person who was also distinguished by good manners.
Around 1500, Titian, along with his younger brother Francesco, was sent to study painting in Venice. Details about the study are unknown - they only begin in 1508. According to researchers of Titian's work, he was a student of Sebastiano Zuccato, Genti le Bellini, but soon made a decision and chose the workshop of Giovanni Bellini.
A strong friendship connected Titian and another famous artist - Giorgione. But this did not last long - Giorgione died in 1510.
Titian left for Padua, but soon returned to Venice. It turned out that in his native city, of all the promising artists, he was the only one left. Many died, some left. By 1516, Titian had already established his position as the leading Venetian painter.
The basis of Titian's activity is altarpieces. The artist also performed quite prestigious private orders.
In 1530, Titian was introduced to the Holy Roman Emperor Charles V. During the next visit, the emperor already granted the artist the titles of Knight of the Golden Spur and Count Palatine. No painter has been awarded this title.
Acquaintance with the emperor forced Titian to overcome his fear of long-distance travel. He now actively traveled to Spain and other countries, working on the orders of Charles V.
Titian and the son of the emperor - Philip II - were bound by friendship. However, she was sometimes staggered by the love of money of Titian - there are such artists! He did not allow fees to be delayed, and if this happened, he filled up the emperor with letters.
The master died, most likely from the plague - in 1576 it covered all of Venice.
Carefully studying the works of Raphael and Michelangelo, Titian gradually develops his own style. “During this period, the artist preferred monumental compositions filled with pathos and dynamics. He created images imbued with bright vitality, built compositions of paintings diagonally, penetrating them with rapid movement, and used intense contrasts of blue and red color spots.
He creates epic canvases on religious and mythological themes.
Characteristic creations are The Ascension of the Mother of God (1516-1518), Madonna and Child with Saints Francis and Blaise, as well as with Alvise Gozzi praying (1520), Ariadne and Bacchus, where the influence of Raphael is visible. "Andreani" (circa 1523-1524) were written under the influence of Michelangelo.
In portraits, Titian tries to express as accurately as possible the character of the person being portrayed - “A Man with a Glove” (1523), “Portrait of Tommaso Mosti” (presumably 1520). In Pesaro's Madonna (1526), Titian's own style is already visible.
“The end of the 1530s-1540s. - the heyday of the portrait art of Titian. With amazing perspicacity, the artist portrayed his contemporaries, capturing the most diverse, sometimes contradictory traits of their characters: self-confidence, pride and dignity, suspicion, hypocrisy, deceit, etc.
Along with singles, he also created group portraits, mercilessly revealing the hidden essence of the relationship of the depicted, the drama of the situation. With rare skill, Titian found the best compositional solution for each portrait, choosing a pose, facial expression, movement, and gesture characteristic of the model. From the 1530s in each picture, Titian found a uniquely individual color solution.
The coloring was made up of the finest tonal shades, and the leading and subordinate colors, made up of barely perceptible nuances, were carefully differentiated. This developed colorism of Titian to a large extent determines the deepest psychologism and emotionality of Titian's portraits. The artist chose the color scheme of the work in such a way that the emotional sound of the color corresponded to the main traits of a person’s character.
The best portraits of this period include "Portrait of Federico Gonzaga" (1529), "Portrait of Charles V with a dog" (1533), "Portrait of Count Antonio di Porcia" (1535), "Portrait of the architect Giulio Romano" (circa 1536), "Beauty "(1536-1537), "Clarissa Strozzi" (circa 1542), "Ranuccio Farnese" (1542), "Portrait of Pietro Aretino" (1545).
“A distinctive feature of the late works of Titian is their subtlest colorful chromatism.
The master builds a range of colors, subordinate to a muted golden tone, on subtle shades of brown, blue-steel, pink-red, faded green. Late paintings by Titian shimmer with many halftones, acquiring airiness. The artist's style of writing acquires exceptional freedom. Both the composition, the form and the light are built with the help of colorful molding. Towards the end of his life, Titian developed a new painting technique.
He applied paint to the canvas with a brush, a spatula, and his fingers.
Transparent glazes in his later paintings do not hide the underpainting, exposing the grainy texture of the canvas in places. From the combination of diverse free strokes, as if exposing the creative process of the artist, images are born full of quivering vitality and drama.
Recent masterpieces include The Entombment (1559), The Annunciation (c. 1564-1566), Venus Blindfolding Cupid (c. 1560-1565), Carrying the Cross (1560s), Tarquinius and Lucretia" (1569-1571), "St. Sebastian" (circa 1570), "Coronation with Thorns" (circa 1572-1576), "Pieta" (mid-1570s).
Allegory of the Ages
Abduction of EuropeHis art, imbued with courageous life-affirmation, is distinguished by its versatility, breadth of coverage of life phenomena, and deep disclosure of the dramatic conflicts of the era. Early works by Titian dating back to the early 1510s. ("Christ and the Sinner", Art Gallery, Glasgow; "Christ and the Magdalene", National Gallery, London; the so-called "Gypsy Madonna", Kunsthistorisches Museum, Vienna, etc.), show closeness to the art of Giorgione, whose unfinished paintings he was writing at the time. They are related to the works of Giorgione by an interest in the landscape, a poetic design, features of lyrical contemplation, and subtle coloring. By the mid-1510s, after a careful study of the works of Raphael and Michelangelo, T. develops an independent style. His images during this period are calm and joyful, marked by vital plethora, brightness of feelings, the seal of inner enlightenment.
The major color is built on the consonance of deep, pure colors ("Love earthly and heavenly", circa 1515-16, Borghese Gallery, Rome; "Flora", circa 1515, Uffizi Gallery, Florence; "Caesar's Denarius", 1518, Dresden Art Gallery) . A number of portraits belong to the same period, which are characterized by a calm rigor of composition, subtle psychologism ("Portrait of a Man", National Gallery, London; "Young Man with a Glove", about 1520, Louvre, Paris).
Late 1510s-1530s - a new period in the work of Titian, largely associated with the social upsurge in Venice, which turns into the 1520-30s. into one of the strongholds of humanism and republican urban freedoms in a world of growing feudal reaction. During this period, the artist preferred monumental compositions full of pathos and dynamics ("Ascension of Mary", circa 1516-18, Church of Santa Maria Gloriosa dei Frari, Venice)
Judith with the head of OlofrenHe created images imbued with bright vitality, built compositions of paintings diagonally, penetrating them with rapid movement, used intense contrasts of blue and red color spots ("Feast of Venus", 1518, Prado, Madrid; "Bacchus and Ariadne", 1523 , National Gallery, London; "The Entombment", 1520s, Louvre, Paris). As if trying to bring the image closer to the viewer, the artist often introduced architectural backgrounds and everyday details into paintings on religious and mythological themes ("Introduction to the Temple", 1534-1538, Accademia Gallery, Venice; "Madonna of the Pesaro Family", 1526, Church of Santa Maria Gloriosa dei Frari, Venice; "Venus of Urbino", 1538, Uffizi Gallery, Florence).
Bacchus and Ariadne Late 1530s-1540s - the heyday of the portrait art of Titian. The artist depicted his contemporaries with amazing insight, capturing the most diverse, sometimes contradictory features of their characters: self-confidence, pride and dignity, suspicion, hypocrisy, deceit, etc. Along with singles, he also created group portraits, mercilessly revealing the hidden essence of the relationship of the depicted, the drama of the situation.
Allegory of frailty (Vanitas)
With rare skill, Titian found the best compositional solution for each portrait, choosing a pose, facial expression, movement, and gesture characteristic of the model. From the 1530s in each picture T. found a uniquely individual color solution. The coloring was made up of the finest tonal shades, and the leading and subordinate colors, made up of barely perceptible nuances, were carefully differentiated. This developed colorism of T. to a large extent determines the deepest psychologism and emotionality of Titian's portraits. The artist chose the color scheme of the work in such a way that the emotional sound of the color corresponded to the main traits of a person’s character.
Venus on a leopard skin
Venus blindfolding Cupid
Venus and Adonis The dominant color was repeated in the shades of the body, background, and furnishings that echoed with it. Among the best portraits of Titian - "Ippolito Medici" (1532-33), the so-called "La Bella" (circa 1536), "Pietro Aretino" (1545) - all in the Palatina Gallery, Florence, "Pope Paul III with Alessandro and Ottavio Farnese "(1545-46, National Museum and Gallery of Capodimonte, Naples), "Charles V" (1548, Alte Pinakothek, Munich), "Charles V in the Battle of Mul Berg" (1548, Prado, Madrid), etc.
DanaeFrom the middle of the 16th century. the late period of Titian's work began. During these years, the artist reached not only the heights of pictorial skill, but also the greatest depths in the interpretation of mythological and religious themes. Working the last decades of his life in an atmosphere of growing political crisis in Italy, Titian found the strength to resist the growing wave of clericalism, defending the humanistic ideals of the Renaissance. The dramatic beginning, which intensified in a number of the artist's later works, was a response to the sharp conflicts of modern reality.
Mother Grieving (Dolorosa)
Saint John the Baptist in Hermitage
Martyrdom of St. LawrenceSt. JeromeThe life-affirming plethora and beauty of the human body and the real world became during this period the main theme of many of T.'s works, distinguished by the richness of color and compositional solutions ("Danae", around 1554, Prado, Madrid, and the Hermitage, Leningrad; "Venus and Adonis ", 1554, Prado, Madrid; "Education of Cupid", circa 1565, Borghese Gallery, Rome; "Venus in front of a Mirror", 1550s, National Gallery of Art, Washington; "The Abduction of Europe", circa 1559, Gardner Museum, Boston), etc.
Education Cupid
Saint Mary MagdaleneWritten in the late period of his work, Titian's paintings on religious themes express the artist's innermost thoughts about man, life, and tragic life collisions. The actors of these paintings, full of deep tragedy, are characterized by integral characters, stoic courage, an unshakable will to live ("St. Jerome", about 1552, Louvre, Paris; "The Entombment", 1559, Prado, Madrid; "Penitent Mary Magdalene ", 1560s, Hermitage, Leningrad; "St. Sebastian", Hermitage, Leningrad; "Coronation with Thorns", Old Pinakothek, Munich; "Lamentation of Christ", 1573-76, Academy Gallery, Venice, etc. ).
Trinity in Glory A distinctive feature of Titian's later works is their subtlest colorful chromatism. The master builds a range of colors, subordinate to a muted golden tone, on subtle shades of brown, blue-steel, pink-red, faded green. Late paintings by Titian shimmer with many halftones, acquiring airiness. The artist's style of writing acquires exceptional freedom. Both the composition, the form and the light are built with the help of colorful molding.
Annunciation of the Madonna
Madonna with a rabbit
Madonna Gypsy
Madonna and child
Madonna and Child
Madonna and Child
Madonna and Child
Madonna in glory
Towards the end of his life, T. developed a new painting technique. He applied paint to the canvas with a brush, a spatula, and his fingers. Transparent glazes in his later paintings do not hide the underpainting, exposing the grainy texture of the canvas in places. From a combination of diverse free strokes, as if exposing the creative process of the artist, images are born full of quivering vitality and drama. The free manner of writing invented by Titian had a great influence on the subsequent development of world painting. The works of T. were carefully studied by artists of various countries and eras - Veronese, Tintoretto, El Greco, N. Poussin, P. P. Rubens, D. Velazquez, Rembrandt, E. Delacroix, E. Manet, V. I. Surikov, and others.
Denarius of Caesar
"Dont touch me "
Christ and the sinner
The Taking of Christ
Xie man
Carrying the Cross
Carrying the Cross
Flagellation of Christ
"Crowning with Thorns"
"Coronation with Thorns"
crucifixion of christ
Christ and the Thief at Calvary
Lamentation for Christ
The position of Jesus in the tombThe position of Jesus in the tomb
Resurrection of Jesus Christ
Resurrection of Jesus Christ
Titian made many drawings, distinguished by a bold pictorial manner. Figures and landscapes are depicted on them with the help of fluent, confident lines and soft light and shade contrasts.
Allegory of time controlled by the mind
Titian Vecellio da Cadore is one of the greatest artists of all times and peoples, being - along with Leonardo, Raphael and Michelangelo - one of the four titans of the Italian Renaissance. "King of painters and painter of kings" called Titian during his lifetime. Titian's discoveries in the field of painting - the color molding of the form, the nuance of paint, the amazing richness of color - had a huge impact on the masters of the subsequent time. It is difficult to name another, except for Titian, an artist who would have had such a strong influence on other creators.
Portrait of Federico Gonzaga, Duke of Mantua
Portrait of Pietro Aretino
Portrait of the Inquisitor, Doge Andrea Gritti
Portrait of a man in a dress with blue sleeves
Portrait of a man in a red hat
Portrait of a man with a glove
Cardinal Alexandro Farnesi
Portrait of a musician
Portrait of Jacobo Strado
Portrait of a young Englishman
Portrait of Pope Julius II
Portrait of Pope Paul III
Pope Paul III with Cardinal Alessandro Farnese and Duke Ottavio Farnese (incomplete)
Portrait of Mark Antonio Trevisani
Portrait of Tomaso Vincenzo Mosti
Portrait of Philip II
Portrait of a Slav
Portrait of Clarissa Strozzi with a dog
TITIAN Francis I, King of France, 1538.
Don Fernando Alvarez de Toledo, Grand Duke of Alba
Empress Isabella of Portugal
Isabella d'Este
Girl in a fur coat
"Gypsy Madonna"
Titian Vecellio is the greatest artist of all times and peoples, who, along with Leonardo, Raphael and Michelangelo, is one of the four titans of the Italian Renaissance. During his lifetime, Titian was called "the king of painters and the painter of kings", and his discoveries in the field of fine art had a huge impact on the work of artists in the future. The role of Titian in the development of the mythological genre, the landscape is great, he was the largest portrait painter, to be captured by the brush of which was the highest award. The artist's works have been copied countless times. The images created by him are distinguished by fragility, solemnity, a combination of spirituality and everyday reality, tragedy.
Despite the fact that the master lived for almost a hundred years, until the last day he retained clarity of perception, thinking, mind, vigilance of vision and amazing ability to work, thanks to which he did not let go of the brush until the end of his days. Titian left an extensive artistic legacy. His work falls on the period of the highest prosperity of Venice, its power and glory, the time of global historical events.
Portrait of a man in a dress with blue sleeves (Ludovico Ariosto). Around 1510
The initial period of creativity
Titian was born in 1477 (according to other sources - in the 1480s) and comes from an old family living in the small town of Pieve di Cadore, located in the Alps. The boy showed his ability to draw at the age of ten, and was sent by his parents to Venice for training. He comprehended the basics of fine art in the workshop of Giovanni Bellini, who introduced him to the already famous then painter Giorgione. Later they will begin joint work on the painting of the German Compound in Venice. It was this event that caused people to talk about the artist very early, especially since his first works are already distinguished by a very realistic rendering of details, which rarely succeeded at a young age.
The first period of Titian's work falls on a time when Venice, thanks to a powerful fleet, strong trade relations and a fairly developed economy, lived in peace and prosperity. Poets, writers, musicians and artists depicted a happy person in the bosom of serene nature, and the main themes of works of art, presented in allegorical form, which was especially close to the young Titian, were love, beauty, poetry of relationships.
Among the early works, of particular note is the “Portrait of a Man in a Dress with Blue Sleeves” (“Ludovico Ariosto”, circa 1510, National Gallery, London), in which the hero leans on a parapet with the initials “T.V”. The artist was very friendly with the poet Ludovico Ariosto. However, there is also a version that this is a self-portrait of Titian. However, it doesn’t really matter who exactly is depicted on the canvas, since attention here needs to be paid precisely to the style of writing of the young artist and the skill of execution. The fabric of the clothes of a man looking at the viewer with a slightly haughty look is beautifully written out. The coloring of the picture is elegant, the strokes are light, the composition is simple and harmonious.
Gradually, the works of Titian were filled with narrative, dynamics, tension and drama. Nature on them is not silent and static, but full of life, like the people who inhabit it, are full of feelings and movement. At the beginning of his career, the artist assigned the primary role to landscapes. Choosing the time of day for work, he preferred the hours before sunset, when the sky was illuminated with a thick color, and his favorite time of the year was autumn with a riot and multicolor of colors. However, over time, the master began to give preference to the portrait genre. Titian was most attracted to people with the richness and complexity of their inner world.
In the canvas “Country Concert” (circa 1510, Louvre, Paris), the amazing fusion of man with nature in a quiet and beautiful evening hour is perfectly conveyed. In front of the viewer are two young people in bright clothes of pale green and red colors. One of them is about to touch the strings of the lute, the other is ready to listen to him attentively. In the foreground, with her back to the viewer, is a naked woman with a flute in her hand. Most likely, it is the Muse. On the left side of the composition, there is another naked maiden about to draw water into a vessel. The nudity of the heroes looks very harmonious, since it is part of the surrounding nature and an important allegory for the expression of chaste feelings. The water in the girl's jug is a symbol of the possible purification of all living things.
However, in this surprisingly poetic atmosphere there is a place for the prose of life, from which it is impossible to hide: in the background on the right, under the dense crowns of trees, a shepherd wanders with his flock of sheep. In the depths, one can also see the roofs of houses in which people live who are unaware of the existence of such a paradise of nature. Although the hero has not yet begun to play the lute, it seems that the enchanting sounds have already managed to fill the space. The picture shows the influence of Giorgione's techniques - the image of an ideal world filled with illusions and as if existing outside of time. It is not surprising that for a very long time this work was attributed to his brush.
A kind of continuation of the previous work is the painting "Interrupted Concert" (circa 1510, Palazzo Pitti, Florence), the main idea of which is also that reality can always burst into the sublime world of art, beauty and love in the most unexpected way. In the center of the composition, a young man enthusiastically plays a musical instrument. Behind him stands an older man who touches his shoulder, trying to stop him. He reluctantly breaks away from his occupation: although he turned his head to the side, his fingers continue to tremble over the keys. The man's face is stern and here's why: on the left is a young man in a hat with an arrogant empty look turned to the viewer, and an ironic smile frozen on his lips. Apparently, the older man realized that this listener absolutely does not care how they play, he is completely far from the world of music and is indifferent to what is happening. Angry and not wanting to caress the ear of a young man who was unable to perceive the depth and beauty of the melody, he decided to immediately interrupt his partner. During this period, the works of the philosopher Plato were published in Venice. Perhaps the main idea of the picture is consonant with the one expressed by Plato in his "Laws": "the most beautiful art is just that which is perceived only by the elect."
Village concert. Okalo 1510
The work "Three Ages of a Man" (1512, National Gallery of Scotland, Edinburgh) requires a special interpretation, and it must be read from right to left. The plot unfolds against the backdrop of a sunny summer landscape. In the foreground, on the right side of the composition, two babies are sleeping sweetly. A life full of joys and sorrows awaits them, but they do not know about it yet and sleep carefree. Young grass barely breaks out from under the ground. The peace and safety of the kids is protected by an angel. Opposite, on the left side of the picture, under the dense crown of a tree, there is a couple in love. They are young, full of strength and desire, health and energy. In the background sits an old man with skulls in his hands. His life has passed, inevitable death is approaching, he lowered his head to his chest in sadness, expressing with all his appearance the hopelessness of old age. Two skulls in his hand indicate that the life of a young couple is short, the same awaits them as all of humanity: we are born in order to die later. Titian will return to this theme in his later work, Allegory of Time and Reason, which we will turn to in the following chapters.
Interrupted concert. Around 1510
