Italian painting Titsian Vecellio (1488-1576)
Запись от Про искусство размещена 26.09.2013 в 20:28
« Self »
1563 66g
oil on canvas, 68 x 61 cm
Museo del Prado , Madrid, Spain
Titian DIVINE
Holy Roman Emperor Charles V, deeply respected work of Titian Vecellio ( okolo1488 -1576 ) , used to say: " I can create a duke, but where I'll take a second Titian ? ". And when the artist is working on a portrait of the emperor, once dropped the brush , Charles V raised it with the words : " Titian honor to serve even the emperor ." The name of this great artist , never alters his native Venice, is on a par with such giants of the High Renaissance , such as Michelangelo , Leonardo da Vinci and Raphael. Titian paintings have brought glory to the biblical and mythological subjects , he became famous as a brilliant portraitist . He was not even thirty years old when he was recognized as the best painter not only of Venice, but the whole of southern Europe .
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« allegory of the three ages »
Around 1512 106 x 182 cm
oil on canvas
Edinburgh . National Gallery of Scotland
Apparently , this is the picture , which was in the house of Giovanni di Kastelboloneze in Faenza , mentioned by Vasari in 1566 . According Zandrarta ( 1675 ) , was in the XVI century, also have some of the Cardinal of Augsburg. In the XVII century, was a Roman meeting Queen Christina of Sweden , then the Roman Prince Odescalchi . In 1722 was bought by the Duke of Orleans . In 1798, after the sale of Orleans collection , moved to Bridgewater collection . In 1803, along with the entire collection passed by will to the Duke of Sutherland . Since 1946, exhibited together with other paintings Sutherland collection at the National Gallery of Scotland. During the recent restoration and radiographic picture of X-rays revealed that the underpainting is it different from the final version , including the original head nymphs was turned toward the audience
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« The Appearance of Christ to Mary Magdalene ( " Do not touch me ")»
Around 1512 109 x 91 cm
oil on canvas
London . National Gallery
According to C. Ridolfi ( 1648 ) , the painting was in the collection of Muzelli in Verona and was considered a work of Titian. In the second half of the XVII century it came to the meeting of the Dukes of Orleans, where it was before 1798 , when the collection was sold in England. Kept in private collections in England , at the National Gallery - since 1856 . The authorship of the picture is not in doubt. The right-hand part of the landscape background with hill and village buildings repeats one of the reasons the landscape in "Sleeping Venus " by Giorgione , Titian completed
In the Footsteps of Giorgione
Tiziano Vecellio was born into a military family in the small town of Pieve di Cadore , which was part of the Venetian possessions . Noticing the boy talent for painting , his parents decided to send him to an art studio Venetian master mosaicists . After a short time, a young Vecellio was an apprentice in a studio by Giovanni Bellini , and later met with Giorgione , the Venetian and also one of the greatest artists of his time .
« Vanity earth (Vanitas) »
Around 1515 98 x 81 cm
oil on canvas
Munich . Alte Pinakothek
All works by Titian can be divided into two periods: early (before 1515 ) when he was under the strong influence of Giorgione's painting , and mature - this time Titian was already the established master, mastered by all means and techniques of pictorial art .
« Flora »
Around 1515 79 x 63 cm
oil on canvas
Florence . The Uffizi Gallery
First mentioned in 1639 , when it was bought by the ruler of Flanders Archduke Leopold Wilhelm of the Spanish Ambassador Alfonso Lopez. In the inventory, collection of Leopold Wilhelm's not mentioned , but it is known that the picture came later in the meeting of the Austrian Habsburgs and was transferred to Florence in 1793 as an exchange . Name of the painting "Flora" arbitrary and first appears in the XVII century engravers Zandrarta I. (1606-1688) , Louis de Boulogne (1609-1674) , J. Piccini (about 1669 ) . Today, along with the traditional interpretation of the artist Titian woman as goddess of flowers and spring flora have been proposed and alternative interpretations (portrait courtesan , nymph , and so on). In the mid- 1510s Titian wrote a few more pictures, in which the figure of the main character goes back to the same prototype as the "Flora" . We mention the " Salome " (Rome, Doria Gallery ) , "Lady for a toilet " (Paris , Louvre ), " Allegory of Vanity of vanities " ( Munich, Alte Pinakothek )
« Salome »
Rome , Gallery Doria
1512 - 13
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« Young woman behind the toilet »
Around 1512-1515
oil on canvas 96 x 76 cm
Paris . Louvre
However, in his youth, and adulthood from Titian to light the images appeared to differ materially from the sublime and subtle character of Raphael and Leonardo da Vinci. Heroes of Titian's paintings can not be called " heavenly beings " - they are earthy , full-bodied , sensual, in which there is a " pagan " began . Early works by the painter permeated with joy, cloudless happiness , knowledge completeness and inexhaustible wealth of earthly life.
These are the feelings experienced when looking at the viewer canvas " Love the Earth and Love of Heaven " ( 1515-1516 ) .
This extraordinarily harmonious scene with three figures : two women and a child in a sarcophagus in a landscape , illuminated by the sun. Women are strikingly similar to each other, but one of them in a luxurious dress and holding in his hand filled with gold and precious stones vessel - a symbol of the transitory earthly happiness , the second woman, naked and beautiful, represents the goddess Venus, and holds a vessel with fire - a symbol of the eternal bliss of heaven .
« heavenly and earthly Love »
1515 118 x 279 cm
oil on canvas
Rome . Borghese Gallery
painting comes from the collection of Cardinal Scipione Borghese, the inventory of his collection is mentioned in 1613 under the title "Beauty unadorned beauty and unvarnished ." The present name dates back to the picture of the XVIII century . Coat of arms depicted on the sarcophagus , on which sit the two women suggests that the picture painted for Nicolo Aurelio, Secretary supreme ruling body of the Council of Ten of Venice . On a silver platter , standing on the edge of the sarcophagus of women , the emblem of Padua family Bagarotto . This proves that the painting was commissioned by Titian held in honor in 1514, his marriage to Laura Nicolo Aurelio Bagarotto . With this event seems to be related allegorical meaning of the painting . His explanation of an extensive literature . The most detailed and reasonable interpretation of the picture belongs to E. Panofsky , who see it as an allegory of the complex multi-valued neo-Platonic conception of love , embodied in the images of the two Venus - the sky symbolizing the spiritual love , and the earth , symbolizing the sensual love . In the spirit of this concept Panofsky treats and relief on the sarcophagus , which sees the scene of ritual purification of the flesh beginning. Other treatments are pictures in text. The scene depicted on the sarcophagus , is often interpreted as a punishment her lover Adonis, Venus, Mars spouse .
Earthly power
In later works by Titian did not find quiet contemplation and tranquility. Here there are dynamics, impulse, power and energy . These are the " Assunta " (or " Assumption of the Virgin Mary ") , written in the years 1516-1518 . , And the song " Bacchus and Ariadne " ( 1523 ) anthem human beauty and strong feelings .
« The Ascension of Mary altarpiece for Santa Maria Glorioso dei Frari in Venice »
1516-1518
690 x 360 cm
Canvas oil
Venice . The church of Santa Maria dei Frari Gloroza
Titian order the prior of the monastery of Santa Maria Gloriosa dei Frari in 1516. In the chronicle of Marino Sanudo , the official historian of the Venetian Republic , testified that she was placed in the main altar of the church of the Frari March 20, 1518 on the feast day of St.. Bernardin . From 1817 to 1918 the painting was in the gallery of the Venetian Academy , then was again returned to the Frari Church. Survived two preparatory sketch in the picture - a group of apostles ( Paris , Louvre) , and sketch the figure of St.. Peter (London, British Museum )
« The Resurrection of Christ ( The altar polyptych Averoldi ), the central part. The Resurrection of Christ »
1520-1522
278 x 122 cm
Oil on wood
Brescia . Church of San Nadzaro e Chelso
polyptych consists of 5 parts: " The Ascension of Christ" (Central ) - 278X122; « Bishop Averoldo with Saints Nazario and Celsius " and " St. Sebastian " (bottom side flaps ) - 169X65 each, " Archangel Gabriel "and " Virgin Mary " (upper side flaps ) - 79X65 each inscription on the column under the foot of St.. Sebastian : TITIAN F AS I EB AT MDXII
Brescia , Santa Nadzaro e Chelso Poliptih was commissioned by the Bishop of Brescia Averoldo Altobello , the papal legate in Venice. In 1520 , according to the letter J. Tebaldi Alfonso d'Este , the figure of St.. Sebastian has already been completed and the Duke of Ferrara Tebaldi convinced to buy it. Brescia polyptych with its night-time lighting effects , the use of complex language of dynamic poses, angles, kontrapostov marks a new stage of creativity Titian. The figure of St.. Sebastian , the admiration of contemporaries, is in this sense the program for good reason - Titian executed for her series of preparatory drawings (now - in graphic collections of Berlin and Frankfurt -am-Main ) . This is one of the first evidence of circulation of Titian to the language of movements and gestures developed by the Roman school , to the language , which he took in the work of his future opponent friulantsa Pordenone
« Bacchus and Ariadne »
1522-1523
175 x 190 cm
oil on canvas
London . National Gallery
painting completes the cycle " Bacchanalia ", written by Titian for Alfonso d'Este. From the correspondence of the latter with his attorney in Venice Giacomo Tebaldi that at the end of August 1522 Titian had already started working on the painting . In another letter, Tebaldi of 14 October 1522 reported that the artist has not yet finished the job . The painting was completed in late 1522 or early 1523 , and January 30, 1523 sent to Ferrara . After the abolition in 1598 of the Duchy of Ferrara , as well as other paintings cycle went to Cardinal Aldobrandini . Prior to 1806 remained in Rome's Palazzo Ludovisi , then was sold to England.
The TV picture, apparently combined two points - the triumph of Bacchus , after his return from India, described in Catullus , and the meeting of Bacchus with Theseus abandoned Ariadne. Some motifs drawn from Ovid pictures and Philostratus
« Bacchanalia (Feast on Andross )»
1520
175 x 193 cm
oil on canvas
Madrid . Prado
inputs in the same cycle as the " Feast of Venus ," and had a picture of a similar fate in 1598 , she was moved from Ferrara to Rome and became the property of the Aldobrandini in 1639 Gila presented to Philip IV.
plot is gleaned from Philostratus and depicts the arrival of Bacchus on the island of Andros
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« Feast of Venus ( Bacchanale babies )»
oil on canvas.
1519 Madrid, Prado
« Feast of Venus ( Bacchanale babies ) " is with " Bacchanalia ( Feast of Andros ) " Prado Museum and the painting " Bacchus and Ariadne " National Gallery in London a single cycle , dedicated to Bacchus and Venus , painted by Titian in the years 1518-1523 for Duke Alfonso d'Este of Ferrara . Three paintings by Titian and finished by Titian "Feast of the Gods" by Giovanni Bellini, apparently joined the program, composed of Ferrara humanists . In implementing the program, originally were to take part Ferrara painter Dosso Dossi , the Florentine Fra Bartolomeo and Raphael , with whom negotiations were conducted on the painting "The Triumph of Bacchus ." In 1517 Raphael even got an advance 50 ducats , but the agreement was not signed . Around 1518 an order was given to Titian . "The Feast of Venus" is the first picture of the cycle. Her story , which includes two episodes - fruit picking and worship Venus - gleaned from Philostratus . The picture was in Ferrara until 1598 , when , following the accession of Ferrara to the papal possessions she, along with other pictures of Ferrara collec ¬ tion was moved to Rome and became the property of Cardinal Aldobrandini . Prior to 1639 was in Rome at the Palazzo Ludovisi , was then presented to the Spanish king Philip IV
Irresistible force of the earth's feminine beauty artist has sung in the canvas , later called the "Venus of Urbino " ( 1538) . Nude Venus, completely devoid of hills and characteristic of the era of spirituality of the image, however, that the earth is perfect beauty that sharply distinguishes it from Venus by Sandro Botticelli .
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« Venus of Urbino »
1538 119 x 165 cm
oil on canvas
Florence . The Uffizi Gallery
Like other paintings Urbino meeting , came to Florence in 1531 , along with the legacy of Vittoria della Rovere . Usually identified with donna nuda ( naked woman ) , said the heir of the throne Urbino Guidobaldo della Rovere, in a letter to Titian in 1538. There is speculation that some of the details in the painting allude to took place shortly before the wedding Guidobaldo (roses in the hand of Venus and myrtle in a pot on a window - the symbols of Venus , the sleeping dog at her feet - fidelity )
However, externalities primarily attracted by Titian - he sought to embody the image of a harmonious person - man or woman whose outer beauty is just the flip side of not less beautiful soul . This he managed to solve the problem in the famous masterpiece " Dinara Caesar " ( 1516 ), where Jesus is presented not a celestial being , and noble, dignified man with a subtle psychic organization .
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« Dinar Caesar »
Around 1515 79 x 70,5 cm
oil on wood
Dresden . Art Gallery
painting was for the Duke of Ferrara, Alfonso d'Este. According to Vasari , she graced the door of the cabinet in the office of the Duke . In 1598 the family moved to the collection d'Este in Modena. Purchased for the Dresden Royal meeting in Modena in 1746. " Dinara Caesar " is the first order received by Titian from Alfonso d'Este. As mentioned in the text, was the subject of the picture seems to offer the customer who chose the words of Christ : " Render unto God of gods , and Caesar " slogan in the struggle against the Roman popes , who were trying to regain his long lost power over Ferrara , officially ranked among the Papal States
" Penitent Mary Magdalene »
Home 1530
oil on wood .
84X69
Florence, palazzo Pitti , Palatine Gallery
picture is painted for the Duke of Urbino , Francesco Maria della Rovere, who became in the 30s one of the main customers of Titian. Vasari, spoke of her with admiration , seeing her together with other works by Titian in the dressing room of the Duke of Urbino . in 1631 along with the entire collection of Urbino became the property of the Florentine Medici as an inheritance the last of the dynasty of Urbino Vittoria della Rovere, a married Ferdinand II de 'Medici .
The picture is the earliest version of one of the favorite themes of Titian. Found it became a way of the prototype for a series of later compositions . replica paintings emerged from the workshop of Titian, is in the Pinacoteca Ambrosiana in Milan. There are also a number of advanced copies .
« Madonna with the rabbit . Maria Child with St . Catherine and John the Baptist »
Around 1530 71 x 85 cm
oil on canvas
Paris . Louvre
picture comes from the collection of the Gonzaga in Mantua.
Link to original
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