Titian - Wikipedia, the free...

Self-Portrait, c. 1567; Museo del Prado, Madrid.

TitianFrom Wikipedia, the free encyclopedia

Tiziano Vecelli or Tiziano Vecellio (c. 1488/1490[1]

– 27 August 1576[2]), known in English as Titian(/ˈtɪʃən/), was an Italian painter, the most importantmember of the 16th-century Venetian school. Hewas born in Pieve di Cadore, near Belluno (inVeneto, Republic of Venice).[3] During his lifetimehe was often called da Cadore, taken from the placeof his birth.

Recognized by his contemporaries as "The SunAmidst Small Stars" (recalling the famous final lineof Dante's Paradiso), Titian was one of the mostversatile of Italian painters, equally adept withportraits, landscape backgrounds, and mythologicaland religious subjects. His painting methods,particularly in the application and use of color,would exercise a profound influence not only onpainters of the Italian Renaissance, but on futuregenerations of Western art.[4]

During the course of his long life, Titian's artisticmanner changed drastically[5] but he retained alifelong interest in color. Although his mature worksmay not contain the vivid, luminous tints of his earlypieces, their loose brushwork and subtlety of tone are without precedent in the history of Westernpainting. He was noted for his mastery of colour.

Contents

1 Biography1.1 Early years1.2 Growth1.3 Maturity1.4 Final years1.5 Death

2 Printmaking3 Family

Titian - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Titian

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A Man with a Quilted Sleeve, an earlyportrait, c. 1509, National Gallery,London.

4 Present day5 Gallery6 Notes7 References8 External links

BiographyEarly years

The exact date of Titian's birth is uncertain. When he was an oldman he claimed in a letter to Philip II, King of Spain, to havebeen born in 1474, but this seems most unlikely.[6] Other writerscontemporary to his old age give figures which would equate tobirthdates between 1473 to after 1482.[7] Most modern scholarsbelieve a date nearer 1490 is more likely; the MetropolitanMuseum of Art's timeline supports c.1488, as does the GettyResearch Institute.[8]

He was the son of Gregorio Vecelli and his wife Lucia. His fatherwas superintendent of the castle of Pieve di Cadore and managedlocal mines for their owners.[9] Gregorio was also a distinguishedcouncilor and soldier. Many relatives, including Titian'sgrandfather, were notaries, and the family of four werewell-established in the area, which was ruled by Venice.

At the age of about ten to twelve he and his brother Francesco(who perhaps followed later) were sent to an uncle in Venice tofind an apprenticeship with a painter. The minor painter

Sebastian Zuccato, whose sons became well-known mosaicists, and who may have been a family friend,arranged for the brothers to enter the studio of the elderly Gentile Bellini, from which they latertransferred to that of his brother Giovanni Bellini.[9] At that time the Bellinis, especially Giovanni, werethe leading artists in the city. There Titian found a group of young men about his own age, among themGiovanni Palma da Serinalta, Lorenzo Lotto, Sebastiano Luciani, and Giorgio da Castelfranco,nicknamed Giorgione. Francesco Vecellio, his older brother, later became a painter of some note inVenice.

A fresco of Hercules on the Morosini Palace is said to have been one of Titian's earliest works. Otherswere the Bellini-esque so-called Gypsy Madonna in Vienna,[10] and the Visitation of Mary and Elizabeth(from the convent of S. Andrea), now in the Accademia, Venice.

The Man with a Quilted Sleeve is an early portrait painted around 1509, described by Giorgio Vasari in


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Woman with a Mirror 1515, The Louvre,Paris.

1568, was long wrongly believed to be of Ludovico Ariosto;it is now thought to be a portrait of Gerolamo Barbarigo,[11]

and the composition was borrowed by Rembrandt for hisown self-portraits.

Titian joined Giorgione as an assistant, but manycontemporary critics already found his work moreimpressive, for example in the exterior frescoes (now almosttotally destroyed) that they did for the Fondaco dei Tedeschi(state-warehouse for the German merchants), and theirrelationship evidently had a significant element of rivalry.Distinguishing between their work at this period remains asubject of scholarly controversy, and there has been asubstantial movement of attributions from Giorgione toTitian in the 20th century, with little traffic the other way.One of the earliest known works of Titian, Christ Carryingthe Cross in the Scuola Grande di San Rocco, depicting theEcce Homo scene,[12] was long regarded as the work ofGiorgione.[13]

The two young masters were likewise recognized as the twoleaders of their new school of arte moderna, which is characterized by paintings made more flexible,freed from symmetry and the remnants of hieratic conventions still to be found in the works of GiovanniBellini.

In 1507–1508 Giorgione was commissioned by the state to create frescoes on the re-erected Fondaco deiTedeschi. Titian and Morto da Feltre worked along with him, and some fragments of paintings remain,probably by Giorgione. Some of their work is known, in part, through the engravings of Fontana. AfterGiorgione's early death in 1510, Titian continued to paint Giorgionesque subjects for some time, thoughhis style developed its own features, including bold and expressive brushwork.

Titian's talent in fresco is shown in those he painted in 1511 at Padua in the Carmelite church and in theScuola del Santo, some of which have been preserved, among them the Meeting at the Golden Gate, andthree scenes (Miracoli di sant'Antonio) from the life of St. Anthony of Padua, The Miracle of the JealousHusband which depicts the Murder of a Young Woman by Her Husband, (see New findings in Titian'sFresco technique at the Scuola del Santo in Padua, The Art Bulletin March 1999, Volume LXXXINumber 1, Author Sergio Rossetti Morosini), A Child Testifying to Its Mother's Innocence, and TheSaint Healing the Young Man with a Broken Limb.

From Padua in 1512, Titian returned to Venice; and in 1513 he obtained a broker's patent, termed LaSanseria or Senseria (a privilege much coveted by rising or risen artists), in the Fondaco dei Tedeschiand became superintendent of the government works, being especially charged to complete the paintingsleft unfinished by Giovanni Bellini in the hall of the great council in the ducal palace. He set up anatelier on the Grand Canal at S. Samuele, the precise site being now unknown. It was not until 1516,after the death of Giovanni Bellini, that he came into actual enjoyment of his patent. At the same time heentered an exclusive arrangement for painting. The patent yielded him a good annuity of 20 crowns and


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Salome with the Head of John theBaptist c. 1515, (Galleria DoriaPamphilj, Rome), or Judith; thisreligious work also functions as anidealized portrait of a beauty, a genredeveloped by Titian, supposedly oftenusing Venetian courtesans as models.

Venus and Organist and Little Dog, c.1550.

exempted him from certain taxes—he being bound in return topaint likenesses of the successive Doges of his time at the fixedprice of eight crowns each. The actual number he painted wasfive.

Growth

During this period (1516–1530), which may be called the periodof his mastery and maturity, the artist moved on from his earlyGiorgionesque style, undertook larger, more complex subjectsand for the first time attempted a monumental style. Giorgionedied in 1510 and Giovanni Bellini in 1516, leaving Titianunrivaled in the Venetian School. For sixty years he was to be theundisputed master of Venetian painting. In 1516, he completedfor the high altar of the Basilica di Santa Maria Gloriosa deiFrari, his famous masterpiece, the Assumption of the Virgin, stillin situ. This extraordinary piece of colorism, executed on a grandscale rarely before seen in Italy, created a sensation.[14] TheSignoria took note, and observed that Titian was neglecting hiswork in the hall of the great council, but in 1516 he succeededhis master Giovanni Bellini in receiving a pension from theSenate.[15]

The pictorial structure of the Assumption—that of uniting inthe same composition two or three scenes superimposed ondifferent levels, earth and heaven, the temporal and theinfinite—was continued in a series of works such as theretable of San Domenico at Ancona (1520), the retable ofBrescia (1522), and the retable of San Niccolò (1523), in theVatican Museums), each time attaining to a higher and moreperfect conception, finally reaching a classic formula in thePesaro Madonna, (better known as the Madonna di Ca'Pesaro) (c. 1519–1526), also for the Frari church. Thisperhaps is his most studied work, whose patiently developedplan is set forth with supreme display of order and freedom,originality and style. Here Titian gave a new conception of the traditional groups of donors and holypersons moving in aerial space, the plans and different degrees set in an architectural framework.[16]

Titian was now at the height of his fame, and towards 1521, following the production of a figure of St.Sebastian for the papal legate in Brescia (a work of which there are numerous replicas), purchaserspressed for his work.

To this period belongs a more extraordinary work, The Death of St. Peter Martyr (1530), formerly in theDominican Church of San Zanipolo, and destroyed by an Austrian shell in 1867. Only copies andengravings of this proto-Baroque picture remain; it combined extreme violence and a landscape, mostlyconsisting of a great tree, that pressed into the scene and seems to accentuate the drama in a way that


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looks forward to the Baroque.[17]

The artist simultaneously continued his series of small Madonnas which he treated amid beautifullandscapes in the manner of genre pictures or poetic pastorals, the Virgin with the Rabbit in The Louvrebeing the finished type of these pictures. Another work of the same period, also in the Louvre, is theEntombment. This was also the period of the three large and famous mythological scenes for thecamerino of Alfonso d'Este in Ferrara, The Andrians and the Worship of Venus in the Museo del Prado,and the Bacchus and Ariadne (1520–23) in London,[18] "perhaps the most brilliant productions of theneo-pagan culture or "Alexandrianism" of the Renaissance, many times imitated but never surpassedeven by Rubens himself."[19]

Finally this was the period when the artist composed the half-length figures and busts of young women,probably courtesans, such as Flora of the Uffizi, or Woman with a Mirror in the Louvre (the scientificimages of this painting (http://merovingio.c2rmf.cnrs.fr/iipimage/ENI_Tiziano/) are available, withexplanations, on the website of the French Center for Research and Restoration of the Museums ofFrance)

Titian's wife, Cecilia—a barber's daughter from his hometown village of Cadore—was a young womanwho had been his housekeeper and mistress for some five years. Cecilia had already borne Titian twofine sons, Pomponio and Orazio, when in 1525 she fell seriously ill. Titian, wishing to legitimize thechildren, married her. Cecilia recovered, the marriage was a happy one, and they had another daughterwho died in infancy.[20] In August 1530 Cecilia died. Titian remarried, but little information is knownabout his second wife. She was possibly the mother of his daughter Lavinia.[21] His second wife diedaround 1427 and he had a fourth child, Emilia, the result of an affair, possibly with a housekeeper.[22]

Titian's favorite child was Orazio, who became his assistant.

In August 1530 Titian moved his two boys and infant daughter to a new home, and convinced his sisterOrsa to come from Cadore and take charge of the household. The mansion, difficult to find now, is in theBiri Grande, then a fashionable suburb, at the extreme end of Venice, on the sea, with beautiful gardensand a view towards Murano. In about 1526 he had become acquainted, and soon close friends, withPietro Aretino, the influential and audacious figure who features so strangely in the chronicles of thetime. Titian sent a portrait of him to Gonzaga, duke of Mantua.

Maturity

Titian's unmatched handling of color is exemplified by his Danaë, one of several mythological paintings,or "poesie" ("poems") as the painter called them. This painting was done for Alessandro Farnese but alater variant was produced for Philip II, for whom Titian painted many of his most importantmythological paintings. Although Michelangelo adjudged this piece deficient from the point of view ofdrawing, Titian and his studio produced several versions for other patrons.

An other famous painting is Bacchus and Ariadne, depicting Theseus, whose ship is shown in thedistance, has just left Ariadne and Naxos, when Bacchus arrives, jumping from his chariot, drawn bytwo cheetahs falling immediately in love with Ariadne. Bacchus raised her to heaven. Her constellationis shown in the sky. The painting belongs to a series commissioned from Bellini, Titian and DossoDossi, for the Camerino d'Alabastro, (Alabaster Room) in the Ducal Palace, Ferrara, by Alfonso d'Este,


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Danaë is one painting from the paintingsfrom the Danaë (Titian series), completedbetween 1553 and 1556.

Bacchus and Ariadne, c. 1520-1523.

Duke of Ferrara, who in 1510 even tried commissions toMichelangelo and Raphael. This painting substitutes apainting from Raphael.

During the next period (1530–1550), Titian developed thestyle introduced by his dramatic Death of St. Peter Martyr.The Venetian government, dissatisfied with Titian's neglectof the work for the ducal palace, ordered him in 1538 torefund the money which he had received, and Pordenone,his rival of recent years, was installed in his place. However,at the end of a year Pordenone died, and Titian, whomeanwhile applied himself diligently to painting in the hallthe Battle of Cadore, was reinstated.

This major battle scene was lost along with so many othermajor works by Venetian artists by the great fire whichdestroyed all the old pictures in the great chambers of theDoge's Palace in 1577. It represented in life-size themoment at which the Venetian general, d'Alviano attackedthe enemy with horses and men crashing down into astream, and was the artist's most important attempt at atumultuous and heroic scene of movement to rival Raphael'sBattle of Constantine and the equally ill-fated Battle ofCascina of Michelangelo and The Battle of Anghiari ofLeonardo (both unfinished). There remains only a poor,incomplete copy at the Uffizi, and a mediocre engraving byFontana.

The Speech of the Marquis del Vasto (Madrid, 1541) wasalso partly destroyed by fire. But this period of the master'swork is still represented by the Presentation of the Blessed Virgin (Venice, 1539), one of his mostpopular canvasses, and by the Ecce Homo (Vienna, 1541). Despite its loss, the painting had a greatinfluence on Bolognese art and Rubens, both in the handling of details and the general effect of horses,soldiers, lictors, powerful stirrings of crowds at the foot of a stairway, lit by torches with the flapping ofbanners against the sky.

Less successful were the pendentives of the cupola at Santa Maria della Salute (Death of Abel, Sacrificeof Abraham, David and Goliath). These violent scenes viewed in perspective from below were by theirvery nature in unfavorable situations. They were nevertheless much admired and imitated, Rubensamong others applying this system to his forty ceilings (the sketches only remain) of the Jesuit church atAntwerp.

At this time also, during his visit to Rome, the artist began his series of reclining Venuses (The Venus ofUrbino of the Uffizi, Venus and Love at the same museum, Venus and the Organ-Player, Madrid), inwhich is recognized the effect or the direct reflection of the impression produced on the master bycontact with ancient sculpture. Giorgione had already dealt with the subject in his Dresden picture,


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Equestrian Portrait of Charles V,1548, Museo del Prado. Titian's stateportrait of Emperor Charles V (1548)at Mühlberg established a new genre,that of the grand equestrian portrait.The composition is steeped both inthe Roman tradition of equestriansculpture and in the medievalrepresentations of an ideal Christianknight, but the weary figure and facehave a subtlety few suchrepresentations attempt.

finished by Titian, but here a purple drapery substituted for a landscape background changed, by itsharmonious coloring, the whole meaning of the scene.

Titian had from the beginning of his career shown himself to be a masterful portrait-painter, in workslike La Bella (Eleanora de Gonzaga, Duchess of Urbino, at the Pitti Palace). He painted the likenesses ofprinces, or Doges, cardinals or monks, and artists or writers. "...no other painter was so successful inextracting from each physiognomy so many traits at once characteristic and beautiful", according to TheCatholic Encyclopedia. Among portrait-painters Titian is compared to Rembrandt and Velázquez, withthe interior life of the former, and the clearness, certainty, and obviousness of the latter.

The last-named qualities are sufficiently manifested in thePortrait of Pope Paul III of Naples, or the sketch of the samePope Paul III and his Grandsons, the Portrait of Pietro Aretinoof the Pitti Palace, the Portrait of Isabella of Portugal (Madrid),and the series of Emperor Charles V of the same museum, theCharles V with a Greyhound (1533), and especially theEquestrian Portrait of Charles V (1548), an equestrian picturewhich as a symphony of purples is perhaps the ne plus ultra ofthe art of painting. In 1532, after painting a portrait of theemperor Charles V in Bologna he was made a Count Palatineand knight of the Golden Spur. His children were also madenobles of the Empire, which for a painter was an exceptionalhonor.

As a matter of professional and worldly success his positionfrom about this time is regarded as equal only to that of Raphael,Michelangelo and, at a later date, Rubens. In 1540 he received apension from d'Avalos, marquis del Vasto, and an annuity of 200crowns (which was afterwards doubled) from Charles V from thetreasury of Milan. Another source of profit, for he was alwaysaware of money, was a contract obtained in 1542 for supplyinggrain to Cadore, where he visited almost every year and wherehe was both generous and influential.

Titian had a favorite villa on the neighboring Manza Hill (infront of the church of Castello Roganzuolo) from which (it maybe inferred) he made his chief observations of landscape formand effect. The so-called Titian's mill, constantly discernible inhis studies, is at Collontola, near Belluno.[23]

He visited Rome in 1546, and obtained the freedom of the city—his immediate predecessor in that honorhaving been Michelangelo in 1537. He could at the same time have succeeded the painter Sebastiano delPiombo in his lucrative office as holder of the piombo or Papal seal, and he was prepared to take HolyOrders for the purpose; but the project lapsed through his being summoned away from Venice in 1547 topaint Charles V and others in Augsburg. He was there again in 1550, and executed the portrait of PhilipII which was sent to England and proved useful in Philip's suit for the hand of Queen Mary.


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The Rape of Europa c, 1560-1562,Isabella Stewart Gardner Museum, isa bold diagonal composition whichwas admired and copied by Rubens.In contrast to the clarity of Titian'searly works, it is almost baroque in itsblurred lines, swirling colors, andvibrant brushstrokes.

Final years

During the last twenty-six years of his life (1550–1576) the artistworked mainly for Philip II and as a portrait-painter. He becamemore self-critical, an insatiable perfectionist, keeping somepictures in his studio for ten years, never wearying of returningto them and retouching them, constantly adding new expressionsat once more refined, concise, and subtle. He also finished offmany copies of earlier works of his by his pupils, giving rise tomany problems of attribution and priority among versions of hisworks, which were also very widely copied and faked outside hisstudio, during his lifetime and afterwards.

For Philip II he painted a series of large mythological paintingsknown as the "poesie", mostly from Ovid, which are regarded asamong his greatest works.[24] Thanks to the prudishness ofPhilip's successors, these were later mostly given as gifts andonly two remain in the Prado. Titian was producing religiousworks for Philip at the same time. The "poesie" series containedthe following works:

Venus and Adonis, of which the original is in the Prado, but several versions exist, andDanaë, both sent to Philip in 1553.[25]

Diana and Actaeon andDiana and Callisto, were despatched in 1559, thenPerseus and Andromeda (Wallace Collection, now damaged) andThe Rape of Europa (Boston, Isabella Stewart Gardner Museum), delivered in 1562.The Death of Actaeon was begun in 1559 but worked on for many years, and never completed ordelivered.[26]

Another painting that apparently remained in his studio at his death, and has been much less well knownuntil recent decades, is the powerful, even "repellent", Flaying of Marsyas (Kroměříž, CzechRepublic)[27] Another violent masterpiece is Tarquin and Lucretia (Cambridge, FitzwilliamMuseum).[28]

For each of the problems which he successively undertook, he furnished a new and more perfectformula. He never again equaled the emotion and tragedy of the The Crowning with Thorns (Louvre), inthe expression of the mysterious and the divine he never equaled the poetry of the Pilgrims of Emmaus,while in superb and heroic brilliancy he never again executed anything more grand than The DogeGrimani adoring Faith (Venice, Doge's Palace), or the Trinity, of Madrid. On the other hand from thestandpoint of flesh tints, his most moving pictures are those of his old age, such as the poesie and theAntiope of the Louvre. He even attempted problems of chiaroscuro in fantastic night effects (Martyrdomof St. Laurence, Church of the Jesuits, Venice; St. Jerome, Louvre; Crucifixion, Church of San


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Pietà, c. 1576, his last painting.

Domenico, Ancona).

Titian had engaged his daughter Lavinia, the beautiful girl whom he loved deeply and painted varioustimes, to Cornelio Sarcinelli of Serravalle. She had succeeded her aunt Orsa, then deceased, as themanager of the household, which, with the lordly income that Titian made by this time, placed her on acorresponding footing. The marriage took place in 1554. She died in childbirth in 1560.

He was at the Council of Trent towards 1555, of which there is a finished sketch in the Louvre. Titian'sfriend Aretino died suddenly in 1556, and another close intimate, the sculptor and architect JacopoSansovino, in 1570. In September 1565 Titian went to Cadore and designed the decorations for thechurch at Pieve, partly executed by his pupils. One of these is a Transfiguration, another anAnnunciation (now in S. Salvatore, Venice), inscribed Titianus fecit, by way of protest (it is said) againstthe disparagement of some persons who caviled at the veteran's failing handicraft.

Around 1560,[29] Titian painted the oil on canvas, Madonna and Child with Saints Luke and Catherineof Alexandria, a derivative on the motif of Madonna and Child. It is suggested that members of Titian'sVenice workshop probably painted the curtain and Luke, because of the lower quality of those parts.[30]

He continued to accept commissions to the end of his life. Likenumerous of his late works, Titian's last painting, the Pietà, is adramatic scene of suffering in a nocturnal setting. It wasapparently intended for his own tomb chapel. He had selected asthe place for his burial the chapel of the Crucifix in the Basilicadi Santa Maria Gloriosa dei Frari, the church of the FranciscanOrder; in return for a grave, he offered the Franciscans a pictureof the Pietà, representing himself and his son Orazio before theSavior, another figure in the composition being a sibyl. Thiswork he nearly finished, but some differences arose regarding it,and he then settled to be interred in his native Pieve.

Death

While the plague raged in Venice, Titian died of a fever on 27August 1576.[31] Depending on his unknown birthdate (see above), he probably was in his late eightiesor maybe in his nineties. Titian was interred in the Frari (Basilica di Santa Maria Gloriosa dei Frari), asat first intended, and his Pietà was finished by Palma il Giovane. He lies near his own famous painting,the Madonna di Ca' Pesaro. No memorial marked his grave, until much later the Austrian rulers ofVenice commissioned Canova to provide a large monument.

Immediately after Titian's death, his son and assistant Orazio died of the plague. His opulent mansionwas plundered by thieves during the epidemic.

PrintmakingTitian himself never attempted engraving, but he was very conscious of the importance of printmakingas a means of further expanding his reputation. In the period 1517–1520 he designed a number of


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woodcuts, including an enormous and impressive one of The Crossing of the Red Sea, and collaboratedwith Domenico Campagnola and others, who produced further prints based on his paintings anddrawings. Much later he provided drawings based on his paintings to Cornelis Cort from the Netherlandswho engraved them. Martino Rota followed Cort from about 1558 to 1568.[32]

FamilySeveral other artists of the Vecelli family followed in the wake of Titian. Francesco Vecellio, his olderbrother, was introduced to painting by Titian (it is said at the age of twelve, but chronology will hardlyadmit of this), and painted in the church of S. Vito in Cadore a picture of the titular saint armed. Thiswas a noteworthy performance, of which Titian (the usual story) became jealous; so Francesco wasdiverted from painting to soldiering, and afterwards to mercantile life.

Marco Vecellio, called Marco di Tiziano, Titian's nephew, born in 1545, was constantly with the masterin his old age, and learned his methods of work. He has left some able productions in the ducal palace,the Meeting of Charles V. and Clement VII. in 1529; in S. Giacomo di Rialto, an Annunciation; in SS.Giovani e Paolo, Christ Fulminant. A son of Marco, named Tiziano (or Tizianello), painted early in the17th century.

From a different branch of the family came Fabrizio di Ettore, a painter who died in 1580. His brotherCesare, who also left some pictures, is well known by his book of engraved costumes, Abiti antichi emoderni. Tommaso Vecelli, also a painter, died in 1620. There was another relative, Girolamo Dante,who, being a scholar and assistant of Titian, was called Girolamo di Tiziano. Various pictures of hiswere touched up by the master, and are difficult to distinguish from originals.

Few of the pupils and assistants of Titian became well known in their own right; for some being hisassistant was probably a lifetime career. Paris Bordone and Bonifazio Veronese were his assistantsduring at some point in their careers. Giulio Clovio said Titian employed El Greco (or DominikosTheotokopoulos) in his last years.

Present dayContemporary estimates are that there have been approximately 400 works which can be attributed toTitian of which about 300 survive.[33] Two of Titian's works in private hands have been up for sale after2008. One of these works, Diana and Actaeon, was purchased by London's National Gallery and theNational Galleries of Scotland on 2 February 2009 for ₤50 million ($71 million).[34] The galleries haduntil 31 December 2008 to make the purchase before the work would be offered to private collectors, butthe deadline was extended. The other painting, Diana and Callisto, will be up for sale for the sameamount until 2012 before it is offered to private collectors.

The sale has created controversy with politicians who said "the money, some of which came fromgovernment funds, could have been spent more wisely during a deepening recession." The Scottishgovernment offered ₤12.5 million and ₤10 million came from the National Heritage Memorial Fund.The rest of the money came from the National Galleries in London and from private donations.[35]


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In 2011, Madonna and Child with Saints Luke and Catherine of Alexandria, was put for an auction atSotheby's, and it was sold on 28, January 2011 for $16.9 million.[29]

On 11 February 2009, an argument about Titian's age at death arose between British Prime MinisterGordon Brown, and Leader of the Opposition David Cameron at Prime Minister's Questions, whereCameron was attempting to ridicule Brown's general factual accuracy. This debate spilt over ontoTitian's entry on Wikipedia, when an editor from Conservative Party HQ altered Titian's dates tosubstantiate David Cameron's claim and then directed the BBC to the article for them to use asverification.[36] Cameron later apologized and said the staff member had been "disciplined".[37] Theprecise date of Titian's birth is uncertain (see above).

The reference was to Brown's comment on 30 January 2009 to the World Economic Forum in Davos:

This is the first financial crisis of the global age, and there is no clear map that has been setout from past experience to deal with it. I'm reminded of the story of Titian, who's the greatpainter who reached the age of 90, finished the last of his nearly 100 brilliant paintings, andhe said at the end of it, "I'm finally beginning to learn how to paint", and that is where weare.[38]

Gallery

Violante, c. 1515.

Doge Andrea Gritti, the Dogeof Venice from 1523 to 1538.

Federico II Gonzaga, c. 1525.


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Portrait of Philip II, c. 1554.

Portrait of Cardinal FilippoArchinto, 1558.

The Death of Actaeon,1559-1575. In Titian's laterworks, the forms lose theirsolidity and melt into the lushtexture of shady, shimmeringcolors and unsettlingatmospheric effects. In additionto energetic brushwork, Titianwas said to put paint on with hisfingers toward the completionof a painting.

The Allegory of Age Governedby Prudence (c. 1565–1570) isthought to depict Titian, his sonOrazio, and a young cousin,Marco Vecellio.

The Flaying of Marsyas, littleknown until recent decades(Kroměříž ArchdiocesanMuseum, Czech Republic), c.1570-1576.

A monk with a book - 1550


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Christ - (detail) 1553, oil oncanvas, 68x62cm, PradoMuseum Madrid.

Religion saved by Spain,1572-1575, Prado Museum,Madrid, Spain.

Notes

^ See below; c. 1488/1490 is generally accepted despite claims in his lifetime that he was older, Getty UnionArtist Name List (http://www.getty.edu/vow/ULANFullDisplay?find=Titian&role=&nation=&prev_page=1&subjectid=500031075) and Metropolitan Museum of Art timeline, retrieved 11 February 2009(http://www.metmuseum.org/toah/hd/tita/hd_tita.htm) both use c. 1488. See discussion of the issue below andat When Was Titian Born? (http://lafrusta.homestead.com/riv_tiziano.html), which sets out the evidence, andsupports 1477—an unusual view today. Gould (pp. 264–66) also sets out much of the evidence withoutcoming to a conclusion. Charles Hope in Jaffé (p. 11) also discusses the issue, favoring a date "in or justbefore 1490" as opposed to the much earlier dates, as does Penny (p. 201) "probably in 1490 or a littleearlier". The question has become caught up in the still controversial division of works between Giorgioneand the young Titian.

1.

^ "Metropolitan Museum of Art timeline" (http://www.metmuseum.org/toah/hd/tita/hd_tita.htm).Metmuseum.org. Retrieved 30 January 2011.

2.

^ Wolf, Norbert (2006). I, Titian. New York and London: Prestel. ISBN 9783791333847.3. ^ Fossi, Gloria, Italian Art: Painting, Sculpture, Architecture from the Origins to the Present Day, p. 194.Giunti, 2000. ISBN 88-09-01771-4

4.

^ The contours in early works may be described as "crisp and clear", while of his late methods it was saidthat "he painted more with his fingers than his brushes." Dunkerton, Jill, et al., Dürer to Veronese: Sixteenth-Century Painting in the National Gallery, pp. 281–286. Yale University, National Gallery Publications, 1999.ISBN 0-300-07220-1

5.

^ Cecil Gould, The Sixteenth Century Italian Schools, National Gallery Catalogues, p. 265, London, 1975,ISBN 0-947645-22-5

6.


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^ "When Was Titian Born?" (http://lafrusta.homestead.com/riv_tiziano.html). Lafrusta.homestead.com. 4November 2002. Retrieved 30 January 2011.

7.

^ See references above8. ^ a b David Jaffé (ed), Titian, The National Gallery Company/Yale, p. 11, London 2003, ISBN 1-85709-903-69. ^ Jaffé No. 1, pp. 74–75 image (http://www.wga.hu//art/t/tiziano/01_1510s/06gipsy.jpg)10. ^ "Portrait of Gerolamo (?) Barbarigo, about 1510, Titian" (http://www.nationalgallery.org.uk/paintings/titian-portrait-of-gerolamo-barbarigo). National Gallery. Retrieved 26 May 2013.

11.

^ Olga Mataev. "Ecce Homo" (http://www.abcgallery.com/T/titian/titian112.html). Abcgallery.com.Retrieved 30 January 2011.

12.

^ Charles Hope, in Jaffé, pp. 11–1413. ^ Charles Hope in Jaffé, p. 1414. ^ Charles Hope, in Jaffé, p. 1515. ^ Charles Hope in Jaffé, pp. 16–1716. ^ Charles Hope, in Jaffé, p. 17 Engraving of the painting (http://www.gutenberg.org/files/22263/22263-h/images/plate16.jpg)

17.

^ Jaffé, pp. 100–11118. ^ Louis Gillet (1913). "Titian" (http://www.newadvent.org/cathen/14742a.htm). Catholic Encyclopedia.New York: Robert Appleton Company. Retrieved 30 January 2011.

19.

^ Sheila Hale, Titian, His Life, Harper Press, London, 2012, ISBN 978-0-00717582-6, p.21520. ^ Sheila Hale, Titian, His Life, Harper Press, London, 2012, ISBN 978-0-00717582-6, p.24921. ^ Sheila Hale, Titian, His Life, Harper Press, London, 2012, ISBN 978-0-00717582-6, p.48622. ^ R. F. Heath, Life of Titian, p. 5.23. ^ Penny, 20424. ^ Museo del Prado, Catálogo de las pinturas, 1996, p. 402, Ministerio de Educación y Cultura, Madrid,ISBN 84-87317-53-7; it has recently been claimed that the Prado version is in fact a replacement for PhilipII, the original being the so-called Lausanne version.

25.

^ Penny, 249-5026. ^ Giles Robertson, in: Jane Martineau (ed), The Genius of Venice, 1500-1600, pp. 231–3, 1983, RoyalAcademy of Arts, London

27.

^ Robertson, pp. 229–23028. ^ a b "Titian Madonna and Child sells for record $16.9m" (http://www.bbc.co.uk/news/entertainment-arts-12305296). BBC News Online. 28 January 2011. Retrieved 30 January 2011.

29.

^ "Art and the Bible" (http://www.artbible.info/art/large/755.html). Artbible.info. Retrieved 30 January 2011.30. ^ Kennedy, Ian (2006). Titian. Taschen. p. 95. ISBN 9783822849125.31. ^ Landau, 304–305, and in catalogue entries following. Much more detailed consideration is given at variouspoints in: David Landau & Peter Parshall, The Renaissance Print, Yale, 1996, ISBN 0-300-06883-2

32.

^ Mark Hudson, Titian: The Last Days, Walker and Company, NY, 2000, p.10-11.33.


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Wikimedia Commons hasmedia related to Titian.

^ Severin Carrell "Titian's Diana and Actaeon saved for the nation" (http://www.guardian.co.uk/artanddesign/2009/feb/02/titian-diana-actaeon-saved), The Guardian, 2 February 2009

34.

^ [1] (http://news.yahoo.com/s/nm/20090202/en_nm/us_titian_2)35. ^ "Tories admit to Wiki-alteration" (http://news.bbc.co.uk/1/hi/uk_politics/7884121.stm). BBC News Online.11 February 2009. Retrieved 11 February 2009. See embedded film clip also.

36.

^ Press Association/The Independent (http://www.independent.co.uk/news/uk/politics/cameron-apologises-over-wikipedia-change-1607488.html) 12 February 2009

37.

^ "PM says 'no clear map' for crisis" (http://news.bbc.co.uk/1/hi/business/davos/7862203.stm). BBC NewsOnline. 1 February 2009. Retrieved 26 May 2013. See embedded film clip also. Titian in fact painted wellover 100 paintings; Terisio Pignatti's catalogue (Rizzoli, 1979, and in English translation) lists 646, thoughmany of these will be workshop versions. Vasari said his works were "without number".

38.

References

Gould, Cecil, The Sixteenth Century Italian Schools, National Gallery Catalogues, London 1975,ISBN 0-947645-22-5Jaffé, David (ed), Titian, The National Gallery Company/Yale, London 2003, ISBN1-85709-903-6Landau, David, in Jane Martineau (ed), The Genius of Venice, 1500–1600, 1983, Royal Academyof Arts, London.Penny, Nicholas, National Gallery Catalogues (new series): The Sixteenth Century ItalianPaintings, Volume II, Venice 1540–1600, 2008, National Gallery Publications Ltd, ISBN1-85709-913-3Ridolfi, Carlo (1594–1658); The Life of Titian, translated by Julia Conaway Bondanella and PeterE. Bondanella, Penn State Press, 1996, ISBN 0-271-01627-2, ISBN 978-0-271-01627-6 GoogleBooks (http://books.google.co.uk/books?id=nNxVU2khKfcC)

External links

133 Paintings by Titian (http://www.bbc.co.uk/arts/yourpaintings/artists/-titian) at the BBC YourPaintings siteA closer Look at the Madonna of the Rabbit (http://musee.louvre.fr/oal/viergeaulapinTitien/viergeaulapinTitien_acc_en.html) multimedia feature, Musée du Louvre official site (Englishversion)The Titian Foundation (http://www.titian-tizianovecellio.org/) Images of 168 paintings by the


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artist.Titian's paintings (http://www.artcyclopedia.com/artists/titian.html)Tiziano Vecellio at Web Gallery of Art (http://www.wga.hu/frames-e.html?/html/t/tiziano/index.html)Christies' sale blurb for the recently restored 'Mother and Child' (http://www.christies.com/presscenter/pdf/09162005/09162005b.pdf)Bell, Malcolm The early work of Titian (http://www.archive.org/details/earlyworkoftitia00belluoft), at Internet ArchiveTitian at Panopticon Virtual Art Gallery (http://www.aiwaz.net/panopticon/titian/gc207)How to Paint Like Titian (http://www.nybooks.com/articles/22353) James Fenton essay on Titianfrom The New York Review of BooksTiziano Vecellio - one of the greatest artists of all time (http://www.art-drawing.ru/biographies/brief-biographies/1457-tiziano-vecellio)Interactive high resolution scientific imagery of Titian's Portrait of a Woman with a Mirror(http://merovingio.c2rmf.cnrs.fr/iipimage/ENI_Tiziano/) from the C2RMF

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Categories: Titian 1480s births 1576 deaths 16th-century deaths from plague (disease)Burials at basilicas Burials in Venice Deaths in Italy 15th-century Italian painters16th-century Italian painters Italian Renaissance painters Italian Roman CatholicsKnights of the Golden Spur People from the Province of Belluno Venetian painters

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