Titian studied painting in the shop of Gentile and Giovanni Bellini. He also worked with Giorgione in 1508 on frescoes (now nearly obliterated) for the facade of the Fondaco dei Tedeschi in Venice. In 1511 he executed frescoes of the miracles of St. Anthony for the Scuola del Santo, Padua. After the deaths of Giorgione and of Giovanni Bellini, Titian was established as the finest painter in Venice. In 1518 he completed the celebrated altarpiece of the Assumption of the Virgin (Church of Santa Maria Gloriosa dei Frari, Venice). During the rest of his career rulers throughout Europe showered him with commissions and honors. His work was eagerly sought by the ducal families of Ferrara, Mantua, and Urbino. Emperor Charles V made him a Count Palatine. Philip II of Spain was also an enthusiastic patron.
In 1545 Titian went to Rome, where he was quartered in the Belvedere of the Vatican. He painted the striking, though unfinished, portrait of Pope Paul III with his grandsons Ottavio (the second Duke of Parma) and Cardinal Alessandro Farnese (Pinacoteca, Naples). For Cardinal Farnese he painted a Danaë (Naples), of which he was later to make several versions. In Rome Titian came into contact with Michelangelo and shared his interest in ancient monuments. Returning to Venice, he was invited in 1548 to Augsburg by Charles V. There he executed many portraits of dignitaries and probably, during the course of his conversations with the emperor, conceived the idea of the magnificent La Gloria (1554; Prado), in which Charles and his deceased wife are presented to the Holy Trinity.
In 1553 Titian began work on a cycle of mythological pictures for Philip II which included Diana and Callisto and Diana Surprised by Acteon (both 1559; National Gall., Edinburgh); the Rape of Europa (1559; Gardner Mus., Boston); and Perseus and Andromeda (c.1555; Wallace Coll., London). Also for Philip II he executed a large number of religious works intended for the Monastery of San Lorenzo del Escorial. Among these were Adam and Eve (c.1570; Prado) and the Martyrdom of St. Lawrence (1564-67; Escorial). After 1552, Titian remained in Venice, living in princely splendor and surrounded by friends who included the writer Pietro Aretino and the architect Jacopo Sansovino.
Titian's work may be divided into three phases. The first is marked by the strong influence of Giovanni Bellini and Giorgione, exemplified in the so-called Sacred and Profane Love (c.1513; Borghese Gall., Rome) and in the Madonna of the Cherries (c.1515; Vienna). The attribution of certain works such as the Fěte Champětre (Louvre) is still a matter of controversy; some historians attribute the work to Giorgione.
During his second phase (c.1518-1550) there is a full development of the dramatic monumentality characteristic of High Renaissance painting. Typical of this phase are the Pesaro Altarpiece (1519-26; Church of Santa Maria Gloriosa dei Frari, Venice), the Presentation of the Virgin (1534-38; Academy, Venice), and the Christ Crowned with Thorns (c.1542; Louvre). Titian also achieved a greater sumptuousness of color and an evocation of sensuous joy in such pictures as the Worship of Venus (1519; Prado), Bacchus and Ariadne (1523; National Gall., London), and the Venus of Urbino (1537; Uffizi). Many of Titian's most famous portraits were painted during this period, including La Bella (1537), Ippolito Rinaldo (c.1545; both: Pitti Palace), and the equestrian portrait of Charles V at the Battle of Mühlberg (1548; Prado).
In Titian's last phase there is an intensification of emotional expression. A deeply personal and mystical spirit becomes visible in a new looseness of brushstroke and subtlety of color. A climactic example is his last painting, the Pietà (Academy, Venice), intended for the artist's own tomb and finished by Palma Giovane.
Throughout his long and prolific career, Titian explored many pictorial problems. The artist was particularly famous for his innovations in the handling of color, a major preoccupation of the Venetian School. His composition and brushwork, as well, were tremendously influential on later artists. Painters from Velázquez to Balthus have studied and valued his work; he serves as an excellent role model for many painters. His influence is felt more strongly in the 20th cent. than that of any other Renaissance artist.
Although most of Titian's paintings are in Europe, examples may be seen in American collections, including the Gardner Museum and the Museum of Fine Arts, Boston; the Metropolitan Museum and the Frick Collection, New York City; the National Gallery of Art, Washington, D.C.; and the Detroit and Kansas City museums.
See studies by H. E. Wethey (2 vol., 1970, 1972), C. Hope (1980), F. Lanzi (1986), and R. Goffen (1998).
(born 1488/90, Pieve di Cadore, Republic of Venice—died Aug. 27, 1576, Venice) Italian painter active in Venice. As a young man he was taught by the Bellini family and worked closely with Giorgione. His early works are so similar in style to Giorgione's as to be indistinguishable, but soon after Giorgione's early death Titian established himself as the leading painter of the Republic of Venice. Among his most important religious paintings is the revolutionary and monumental Assumption (1516–18) for Santa Maria dei Frari, in which the Virgin ascends to heaven in a blaze of colour accompanied by a semicircle of angels. Titian was also interested in mythological themes, and his many depictions of Venus display his work's sheer beauty and inherent eroticism. Bacchus and Ariadne (1520–23), with its pagan abandon, is one of the greatest works of Renaissance art. Titian was sought after for his psychologically penetrating portraits, which include portrayals of leading Italian aristocrats, religious figures, and Emperor Charles V. He reached the height of his powers in The Rape of Europa (circa 1559–62), one of several paintings done for Philip II of Spain. He was recognized as supremely gifted in his lifetime, and his reputation has never declined.
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Tiziano Vecelli or Tiziano Vecellio (c. 1485 – August 27, 1576), better known as Titian, was the leading painter of the 16th-century Venetian school of the Italian Renaissance. He was born in Pieve di Cadore, near Belluno (in Veneto), in the Republic of Venice. During his lifetime he was often called Da Cadore, taken from the place of his birth.
Recognized by his contemporaries as "the sun amidst small stars" (recalling the famous final line of Dante's Paradiso), Titian was one of the most versatile of Italian painters, equally adept with portraits and landscapes (two genres that first brought him fame), mythological and religious subjects. His painting methods, particularly in the application and use of color, would exercise a profound influence not only on painters of the Italian Renaissance, but on future generations of Western art.
During the course of his long life Titian's artistic manner changed drastically but he retained a lifelong interest in colour. Although his mature works may not contain the vivid, luminous tints of his early pieces, their loose brushwork and subtlety of polychromatic modulations are without precedent in the history of Western art.
At the age of about ten to twelve he and his brother Francesco (who perhaps followed later) were sent to an uncle in Venice to find 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 later transferred to that of his brother Giovanni Bellini. At that time the Bellinis, especially Giovanni, were the leading artists in the city. There he found a group of young men about his own age, among them Giovanni Palma da Serinalta, Lorenzo Lotto, Sebastiano Luciani, and Giorgio da Castelfranco, nicknamed Giorgione. Francesco Vecellio, his younger brother, later became a painter of some note in Venice.
A fresco of Hercules on the Morosini Palace is said to have been one of his earliest works; others were the Virgin and Child (the Bellini-esque so-called Gypsy Madonna), in Vienna, and the Visitation of Mary and Elizabeth (from the convent of S. Andrea), now in the Accademia, Venice.
Titian joined Giorgione as an assistant, but many contemporary critics already found his work more impressive, for example in the exterior frescoes (now almost totally destroyed) that they did for the Fondacio dei Tedeschi, and their relationship evidently had a significant element of rivalry. Distinguishing between their work at this period remains a subject of scholarly controversy, and there has been a substantial movement of attributions from Giorgione to Titian in the 20th century, with little traffic the other way. One of the earliest known works of Titian, the little Ecce Homo of the Scuola di San Rocco, was long regarded as the work of Giorgione.
The two young masters were likewise recognized as the two leaders of their new school of "arte moderna", that is of painting made more flexible, freed from symmetry and the remnants of hieratic conventions still to be found in the works of Giovanni Bellini.
In 1507-1508 Giorgione was commissioned by the state to execute frescoes on the re-erected Fondaco dei Tedeschi. 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. After Giorgione's early death in 1510, Titian continued to paint Giorgionesque subjects for some time, though his style developed its own trademarks, 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 the Scuola del Santo, some of which have been preserved, among them the Meeting at the Golden Gate, and three scenes from the life of St. Anthony of Padua, the Murder of a Young Woman by Her Husband, A Child Testifying to Its Mother's Innocence, and The Saint 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 in the Fondaco dei Tedeschi (state-warehouse for the German merchants), termed La Sanseria or Senseria (a privilege much coveted by rising or risen artists), and became superintendent of the government works, being especially charged to complete the paintings left unfinished by Giovanni Bellini in the hall of the great council in the ducal palace. He set up an atelier on the Grand Canal at S. Samuele, the precise site being now unknown. It was not until 1516, upon the death of Bellini, that he came into actual enjoyment of his patent. At the same time he entered an exclusive arrangement for painting. The patent yielded him a good annuity of 20 crowns and exempted him from certain taxes — he being bound in return to paint likenesses of the successive Doges of his time at the fixed price of eight crowns each. The actual number he executed was five.
Giorgione died in 1510 and the aged Giovanni Bellini in 1516, leaving Titian unrivaled in the Venetian School. For sixty years he was to be the undisputed master of Venetian painting, and as it were, the painter laureate of the Republic Serenissime. As early as 1516 he succeeded his master Giovanni Bellini in receiving a pension from the Senate.
During this period (1516-1530), which may be called the period of his mastery and maturity, the artist moved on from his early Giorgionesque style, undertook larger and more complex subjects and for the first time attempted a monumental style.
In 1518 he produced for the high altar of the church of the Frari, his famous masterpiece, the Assumption of the Virgin, still in situ. This extraordinary piece of colorism, executed on a grand scale rarely before seen in Italy, created a sensation. The Signoria took note, and observed that Titian was neglecting his work in the hall of the great council.
The pictorial structure of the Assumption — that of uniting in the same composition two or three scenes superimposed on different levels, earth and heaven, the temporal and the infinite — was continued in a series of works such as the retable of San Domenico at Ancona (1520), the retable of Brescia (1522), and the retable of San Niccolò (1523), in the Vatican Museum), each time attaining to a higher and more perfect conception, finally reaching a classic formula in the Pesaro Madonna, (better known as the Madonna di Ca' Pesaro) (c. 1519-1526), at Santa Maria Gloriosa dei Frari in Venice. This perhaps is his most studied work, whose patiently developed plan 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 holy persons moving in aerial space, the plans and different degrees set in an architectural framework.
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), purchasers pessed for his work.
To this period belongs a more extraordinary work, The Death of St. Peter Martyr (1530), formerly in the Dominican Church of San Zanipolo, and destroyed by an Austrian shell in 1867. Only copies and engravings of this proto-Baroque picture remain; it combined extreme violence and a landscape, mostly consisting of a great tree, that pressed into the scene and seems to accentuate the drama in a way that looks forward to the Baroque.
The artist simultaneously continued his series of small Madonnas which he treated amid beautiful landscapes in the manner of genre pictures or poetic pastorals, the Virgin with the Rabbit in the Louvre being the finished type of these pictures. Another work of the same period, also in the Louvre, is the Entombment. This was also the period of the large mythological scenes for the studiolo of Alfonso d'Este in Ferrara, such as the famous Bacchanals of the Prado, and the Bacchus and Ariadne of London, "...perhaps the most brilliant productions of the neo-pagan culture or "Alexandrianism" of the Renaissance, many times imitated but never surpassed even by Rubens himself." 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 The Young Woman at Her Toilet in the Louvre.
In 1525 he married a lady named Cecilia, thereby legitimizing their first child, Pomponio, and two (or perhaps three) others followed, including Titian's favorite, Orazio, who became his assistant. About 1526 he became acquainted, and soon exceedingly intimate, with Pietro Aretino, the influential and audacious figure who features so strangely in the chronicles of the time. Titian sent a portrait of him to Gonzaga, duke of Mantua.
In August 1530 his wife died giving birth to a daughter, Lavinia, and with his three children he moved house, and got his sister Orsa to come from Cadore and take charge of the household. The mansion, difficult to find now, is in the Bin Grande, then a fashionable suburb, at the extreme end of Venice, on the sea, with beautiful gardens and a view towards Murano.
Less successful were the pendentives of the cupola at Sta. Maria della Salute (Death of Abel, Sacrifice of Abraham, David and Goliath). These violent scenes viewed in perspective from below — like the famous pendentives of the Sistine Chapel — were by their very nature in unfavorable situations. They were nevertheless much admired and imitated, Rubens among others applying this system to his forty ceilings (the sketches only remain) of the Jesuit church at Antwerp.
At this time also, the time of his visit to Rome, the artist began his series of reclining Venuses (The Venus of Urbino of the Uffizi, Venus and Love at the same museum, Venus and the Organ-Player, Madrid), in which is recognized the effect or the direct reflection of the impression produced on the master by contact with ancient sculpture. Giorgione had already dealt with the subject in his Dresden picture, finished by Titian, but here a purple drapery substituted for a landscape background changed, by its harmonious coloring, the whole meaning of the scene.
Titian had from the beginning of his career shown himself to be a masterful portrait-painter, in works like La Bella (Eleanora de Gonzaga, Duchess of Urbino, at the Pitti Palace). He painted the likenesses of princes, or Doges, cardinals or monks, and artists or writers. "...no other painter was so successful in extracting from each physiognomy so many traits at once characteristic and beautiful", according to the Catholic Encyclopedia. Among portrait-painters Titian is compared to Rembrandt and Velázquez, with the interior life of the former, and the clearness, certainty, and obviousness of the latter.
The last-named qualities are sufficiently manifested in the Portrait of Paul III of Naples, or the sketch of the same pope and his two nephews, the Portrait of Aretino of the Pitti Palace, the Eleanora of Portugal (Madrid), and the series of King Charles V of the same museum, the Charles V with a Greyhound (1533), and especially the Charles V at Mühlberg (1548), an equestrian picture which as a symphony of purples is perhaps the ne plus ultra of the art of painting.
In 1532 after painting a portrait of the emperor Charles V in Bologna he was made a Count Palatine and knight of the Golden Spur. His children were also made nobles of the Empire, which for a painter was an exceptional honor.
As a matter of professional and worldly success his position from about this time is regarded as equal only to that of Raphael, Michelangelo, and at a later date Rubens. In 1540 he received a pension from D'Avalos, marquis del Vasto, and an annuity of 200 crowns (which was afterwards doubled) from Charles V from the treasury of Milan.
Another source of profit, for he was always aware of money, was a contract obtained in 1542 for supplying grain to Cadore, where he visited almost every year and where he was both generous and influential.
Titian had a favorite villa on the neighboring Manza Hill, from which (it may be inferred) he made his chief observations of landscape form and effect. The so-called Titian's mill, constantly discernible in his studies, is at Collontola, near Belluno.
He visited Rome in 1546, and obtained the freedom of the city — his immediate predecessor in that honour having been Michelangelo in 1537. He could at the same time have succeeded the painter Sebastiano del Piombo in his lucrative office as holder of the piombo or Papal seal, and he was prepared to take holy orders for the purpose; but the project lapsed through his being summoned away from Venice in 1547 to paint Charles V and others in Augsburg. He was there again in 1550, and executed the portrait of Philip II which was sent to England and proved useful in Philip's suit for the hand of Queen Mary.
During the last twenty-five years of his life (1550-1576) the artist worked mainly for Philip II and as a portrait-painter he became more self-critical, an insatiable perfectionist, keeping some pictures in his studio for ten years, never wearying of returning to them and retouching them, constantly adding new expressions at once more refined, concise, and subtle. He also finished off many copies of earlier works of his by his pupils, giving rise to many problems of attribution and priority among versions of his works, which were also very widely copied and faked outside his studio, during his lifetime and afterwards.
For each of the problems which he successively undertook he furnished a new and more perfect formula. He never again equaled the emotion and tragedy of the Crowning with Thorns (Louvre), in the 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 Doge Grimani adoring Faith (Venice, Doge's Palace), or the Trinity, of Madrid.
On the other hand from the standpoint of flesh tints, his most moving pictures are those of his old age, the Dan of Naples and of Madrid, the Antiope of the Louvre, the Rape of Europa (Boston, Gardner collection), etc. He even attempted problems of chiaroscuro in fantastic night effects (Martyrdom of St. Laurence, Church of the Jesuits, Venice; St. Jerome, Louvre). In the domain of the real he always remained equally strong, sure, and master of himself; his portraits of Philip II (Madrid), those of his daughter, Lavinia, and those of himself are numbered among his masterpieces.
Titian had engaged his daughter Lavinia, the beautiful girl whom he loved deeply and painted various times, to Cornelio Sarcinelli of Serravalle. She had succeeded her aunt Orsa, then deceased, as the manager of the household, which, with the lordly income that Titian made by this time, placed her on a corresponding footing. The marriage took place in 1554. She died in childbirth in 1560.
He was at the Council of Trent towards 1555, of which his admirable picture or finished sketch in the Louvre bears record. Titian's friend Aretino died suddenly in 1556, and another close intimate, the sculptor and architect Jacopo Sansovino, in 1570. In September 1565 Titian went to Cadore and designed the decorations for the church at Pieve, partly executed by his pupils. One of these is a Transfiguration, another an Annunciation (now in S. Salvatore, Venice), inscribed Titianus fecit, by way of protest (it is said) against the disparagement of some persons who cavilled at the veteran's failing handicraft.
He continued to accept commissions to the end of his life. He had selected as the place for his burial the chapel of the Crucifix in the church of the Fran; and, in return for a grave, he offered the Franciscans a picture of the Pietà, representing himself and his son Orazio before the Saviour, another figure in the composition being a sibyl. This work he nearly finished; but some differences arose regarding it, and he then settled to be interred in his native Pieve.
Titian was approximately 90 years old when the plague raging in Venice took him on 27 August 1576. He was the only victim of the Venice plague to be given a church burial. He was interred in the Frari (Santa Maria Gloriosa dei Frari), as at first intended, and his Pietà was finished by Palma the Younger. He lies near his own famous painting, the Madonna di Ca' Pesaro. No memorial marked his grave, until much later the Austrian rulers of Venice commissioned Canova to provide the large monument.
Immediately after Titian's own death, his son and pictorial assistant, Orazio, died of the same epidemic. His sumptuous mansion was plundered during the plague by thieves.
Several other artists of the Vecelli family followed in the wake of Titian. Francesco Vecellio, his elder brother, was introduced to painting by Titian (it is said at the age of twelve, but chronology will hardly admit of this), and painted in the church of S. Vito in Cadore a picture of the titular saint armed. This was a noteworthy performance, of which Titian (the usual story) became jealous; so Francesco was diverted 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 master in 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 the 17th century.
From a different branch of the family came Fabrizio di Ettore, a painter who died in 1580. His brother Cesare, who also left some pictures, is well known by his book of engraved costumes, Abiti antichi e moderni. 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 his were 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 his assistant was probably a lifetime career. Paris Bordone and Bonifazio Veronese were two of superior excellence. El Greco (or Dominikos Theotokopoulos) was said (by Giulio Clovio) to have been employed by the master in his last years.