1000+ images about Titian (1485-1576) on Pinterest | The father, Portrait and Self portraits Pinterest • The world’s catalog of ideas Titian (1485-1576) Tiziano Vecelli or Tiziano Vecellio known in English as Titian was an Italian painter, the most important member of the 16th-century Venetian school. He was born in Pieve di Cadore, near Belluno, in the Republic of Venice. Wikipedia Born: 1485, Pieve di Cadore, Italy Died: August 27, 1576, Venice, Italy Nationality: Italian Series: Danaë 34 Pins529 Followers 1000+ images about titian 1485-1576 on Pinterest | Pope paul iii, Italian painters and Sleeve Forward Tiziano Vecelli or Tiziano Vecellio (1488/1490-1576) was an Italian painter. He was born in Pieve di Cadore, in the Republic of Venice.

Titian was one of the most versatile of Italian painters, equally adept with portraits, landscape backgrounds, & mythological & religious subjects. His painting methods, particularly in the application & use of color, would exercise a profound influence not only on painters of the Italian Renaissance, but on future generations of Western art. See More Tiziano Vecellio Titian (c.1485-1576) Biography View All 223 Tiziano Vecellio Titian Art Reproductions Tiziano Vecellio or Vecelli (c. 1488/90 - August 27, 1576), better known as Titian (tish'un), was the leader of the 16th-century Venetian school of the Italian Renaissance. He was born at Pieve di Cadore near Belluno (Veneto) in Italy, and died at Venice. During his lifetime he was often called Da Cadore, from the place of his birth. The color titian is derived from the artist's frequent use of brownish orange.

Recognised by his contemporaries as "the sun amidst small stars", 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. Had he died at the age of 40, he would still have to be regarded as one of the most influential artists of his time. But he lived on for half a century, changing his manner so drastically that some critics refuse to believe that his early and later pieces could have been produced by the same man. What unites two parts of his career is his deep interest in colour. Although his later works may not sing with vivid, luminous tints as his early pieces do, yet their loose brushwork and subtlety of polychromatic modulations have no precedents in the history of Western art. Childhood No one is sure of the exact date of Titian's birth, but the traditional notion that he was born in 1477 is seldom given credit nowadays. He was one of a family of four and son of Gregorio Vecelli, a distinguished councilor and soldier, and of his wife Lucia.

At age 10 his brother took him to Venice and apprenticed him to celebrated mosaicist, Sebastian Zuccato. At the end of four or five years, he entered the studio of the aged painter Giovanni Bellini, at that time the most noted artist 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 elder brother, later became a painter of some note in Venice. Early work A fresco of Hercules on the Morosini Palace is said to have been one of his earliest works; others were the Virgin and Child, in the Vienna Belvedere, and the Visitation of Mary and Elizabeth (from the convent of S. Andrea), now in the Venetian Academy. Titian entered into partnership with Giorgione, and it is difficult to distinguish their early works. The earliest known work of Titian, the little Ecce Homo of the Scuola di San Rocco, was long regarded as the work of Giorgione.

The same confusion or uncertainty is connected with more than one of the Sacred Conversations. 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 Titian's paintings remain. Some of their work is known, in part, through the engraving of Fontana. 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.

Growth Giorgione died in 1510 and the aged Bellini in 1516, leaving Titian after the production of such masterpieces without a rival in the Venetian School. For 60 years he was to be the absolute and undisputed head, the official master, and as it were, the painter laureate of the Republic Serenissime. As early as 1516 he succeeded his old master Bellini as the pensioner of the Senate. During this period (1516-1530), which may be called the period of his bloom and maturity, the artist freed himself from the traditions of his youth, undertook a class of more complex subjects and for the first time attempted the monumental style. In 1518 he produced for the high altar of the church of the Frari, a world-renowned masterpiece, the Assumption of the Virgin, still in situ. It excited a vast sensation, being an extraordinary piece of colourist execution on a great scale which Italy had not yet seen. The signoria took note of the facts and did not fail to observe 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 Niccolo (1523, at the Vatican), each time attaining to a higher and more perfect conception, finally reaching an unsurpassable formula in the Pesaro retable, (1526), in the Church of the Frari at Venice. This perhaps is his most perfect and most studied work, whose patiently developed plan is set forth with supreme display of order and freedom, of 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 became extremely urgent for his productions.

To this period belongs a more extraordinary work, The Beneath of St. Peter of Verona (1530), formerly in the Dominican Church of San Zanipolo, and destroyed by an Austrian shell in 1867. Only copies of this sublime picture remain - one in the Ecole des Beaux Arts). The association of the landscape with a scene of murder - a rapidly brutal scene of slaying, a cry rising above the old oak-trees, a Dominican escaping the ambush, and overall the shudder and stir of the dark branches - "...this is all, but never perhaps has tragedy more swift, startling, and pathetic been depicted even by Tintoretto or Delacroix." 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 likewise the period of the mythological scenes, such as the famous Bacchanals of Madrid, 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 of mastery when the artist composed the half-length figures and busts of young women, such as Flora of the Uffizi, or The Young Woman at Her Toilet in the Louvre (also called, without reason, Laura de Dianti or The Mistress of Titian). In 1525, after some irregular living and a consequent fever, he married a lady named Cecilia, thereby legitimizing their first child, Pomponio, and two (or perhaps three) others followed, including Titian's supposed favorite, Orazio. Towards 1526 he became acquainted, and soon exceedingly intimate, with Pietro Aretino, the literary bravo, of influence and audacity hitherto unexampled, who figures so strangely in the chronicles of the time. Titian sent a portrait of him to Gonzaga, duke of Mantua.

A great affliction befell him in August 1530 in the death of his wife. He then, with his three children, one of them the infant Lavinia, whose birth had been fatal to the mother, moved to a new home, 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, being in the extreme end of Venice, on the sea, with beautiful gardens and a look-out towards Murano. Maturity During the next period (1530-1550), as was foreshadowed by his Martyrdom of St. Peter, Titian devoted himself more and more to the dramatic style.

From this time come his historical scene, the most characteristic of which have mutilated or destroyed; thus, the Battle of Cadore, the artist's greatest efforts to master movement and to express even tumult, his most violent attempt to go out of himself and achieve the heroic, wherein he rivals the War of Pisa, The Battle of Anghiari, and the Battle of Constantine, perished in 1577 in the fire which destroyed all the old pictures adorning the Doge's Palace. There is extant only a poor, incomplete copy at the Uffizi, and a mediocre engraving by Fontana. In like manner the Speech of the Marquis del Vasto (Madrid, 1541) was partly destroyed by fire. But this portion of the master's work is adequately represented by the Presentation of the Blessed Virgin (Venice, 1539), one of his most popular canvasses, and by Ecce Homo (Vienna, 1541), one of the most pathetic and life-like of masterpieces.

The School of Bologna and Rubens many times borrowed the distinguished and magisterial mise-en-scene, the grand and stirring effect, and these horses, soldiers, lictors, these powerful stirrings of crowds at the foot of a stairway, while over all are the light of torches and the flapping of banners against the sky, have been often repeated. 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 40 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 the Dresden picture, but here a purple drapery substituted for its background of verdure was sufficient to change, by its harmonious coloring, the whole meaning of the scene. Furthermore Titian had from the beginning of his career shown himself to be an 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 Velasquez , 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 Paul III of Naples, or the sketch of the same pope and his two nephews, the 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 Muhlberg (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. The Venetian government, dissatisfied with Titian's neglect of the work for the ducal palace, ordered him in 1538 to refund the money which he had received for time unemployed, and Pordenone, his formidable rival of recent years, was installed in his place.

However, at the end of a year Pordenone died, and Titian, who meanwhile applied himself diligently to painting in the hall the battle of Cadore, was reinstated. This picture, which was burned with several others in 1577?, represented in life-size the moment at which the Venetian captain, D'Alviano fronted the enemy with horses and men crashing down into a stream. Fontanas engraving, and a sketch by Titian himself in the gallery of the Uffizi in Florence, record the energetic composition. 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 on the treasury of Milan. Another source of profit, for he was always sufficiently keen after 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 ??â€ his immediate predecessor in that honour having been Michelangelo in 1537. He could at the same time have succeeded the painter Fra Sebastiano in his lucrative office of the piombo, and he made no scruple of becoming a friar 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 a potent auxiliary in the suit of the prince for the hand of Queen Mary.

Final years During the last 25 years of his life (1550-1576) the artist, more and more absorbed in his work as a portrait-painter and also more self-critical, an insatiable perfectionist, finished only a few great works. Some of his pictures he kept in his studio for 10 years, never wearying of returning to them and retouching them, constantly adding new expressions at once more refined, concise, and subtle. 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. Vecelli had affianced 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 last. 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 Pieta, 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 approaching 90-years-old when the plague raging in Venice seized him, and he died on 27 August 1576. He was the only victim of that plague to be given a church burial and was interred in the Frari (Santa Maria Gloriosa dei Frari), as at first intended, and his Pieta was finished by Palma Giovane. He lies near his own famous painting, the Madonna di Ca' Pesaro. No memorial marked his grave, until by Austrian command Canova executed the 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. Family Several other artists of the Vecelli family followed in the wake of Titian. Francesco Vecelli, 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 Vecelli, 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. Apart from members of his family, the scholars of Titian were not numerous; Paris Bordone and Bonifazio were the two of superior excellence. El Greco (or Dominikos Theotokopoulos) was employed by the master to engrave from his works. It is said that Titian himself engraved on copper and on wood, but this may well be questioned. Titian (ca. 1485/90–1576) | Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art The Metropolitan Museum of Art Works of Art (9) Essay Tiziano Vecellio (ca. 1488–1576), known as Titian, was the greatest Venetian artist of the sixteenth century, eventually gaining international fame. Titian is known above all for his remarkable use of color ; his painterly approach was highly influential well into the seventeenth century.

Titian contributed to all of the major areas of Renaissance art, painting altarpieces, portraits , mythologies , and pastoral landscapes with figures. Early Works Titian trained under two other seminal Venetian artists, Giovanni Bellini (active by 1459, died 1516) and Giorgione (ca. 1477/8–1510). The latter, with whom Titian also collaborated, was influential for his tonal approach to painting and for his landscape style, which was atmospheric and evocative. The two artists worked in such a similar manner that the line between them has been hard to fix: this is true especially for some pastoral landscapes, in which the beauty of nature is celebrated alongside love and music . Titian’s drawings of this period, such as Landscape with Goat ( 1991.462 ) and Two Satyrs in a Landscape ( 1999.28 ), are such pastoral landscapes, the latter with mythological figures in a lush landscape whose untamed beauty contrasts with a carefully balanced arrangement.

Titian and Altarpiece Painting Titian’s first major public commission in Venice, the Assumption of the Virgin for the high altar of Santa Maria Gloriosa dei Frari (1516–18), established his place as the leading painter of the city. Contemporaries noted that some viewers were uneasy with its novel portrayal of the dynamically twisting Virgin and the gesticulating apostles below. It broke with tradition as well in the heroic scale of the figures and the use of bold color. The Assumption can be seen from the far end of the church, drawing the eye to the sacred space of the altar. Titian went on to paint other influential altarpieces, above all the Death of Saint Peter Martyr for the Church of SS. Giovanni e Paolo (1526–30, destroyed by fire in the nineteenth century), which Vasari thought the artist’s greatest work. Titian and Portraiture Titian achieved international fame through his numerous portraits, including those of Emperor Charles V , who wished to be painted by no other artist, and Pope Paul III . Titian’s portraits are remarkable for the way in which they seem to express a psychological dimension while also suggesting something of the sitter’s status and importance.

His earliest portraits (Portrait of a Man, 14.40.640 ) follow Giorgione in the melancholy or dreamy mood portrayed. In the portrait of Filippo Archinto ( 14.40.650 ), the gravity and importance of this archbishop of Milan is suggested by the monumentality of his presence and the subdued palette, while our attention is drawn to the sensitively portrayed hands and face. Mythology and Poesia Titian also painted works with mythological subjects for domestic settings ; he often called these “poesie,” likening them to visual poetry. Of these, some of the most beautiful were painted as a series of Bacchanals for Duke Alfonso I of Ferrara from around 1518. In Bacchus and Ariadne (London, National Gallery), Bacchus is shown leaping from his chariot, startling the lovely Ariadne. Titian derived the subject matter from literary descriptions of classical works of art . Venus, the mythological goddess of love, is the protagonist of a number of works by Titian, the best known probably being the so-called Venus of Urbino (Florence, Galleria degli Uffizi).

Painted for Francesco Maria I della Rovere’s private chambers, this reclining nude is at once idealized and erotic . Later in his career, Titian turned to the theme in paintings for his most important patrons, such as Philip II of Spain. As often happened in his workshop, variants would then be carried out for others. This is the case in both Venus and the Lute Player ( 36.29 ) and Venus and Adonis ( 49.7.16 ). Department of European Paintings, The Metropolitan Museum of Art October 2003 Citation Department of European Paintings. “Titian (ca. 1485/90–1576).” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–.

(October 2003) Related Scran ::: Titian [Tiziano Vecellio (c.1485 - 1576)], Artist Title: Titian [Tiziano Vecellio (c.1485 - 1576)], Artist Scran ID: 001-000-101-227-L Take out a subscription to see the full Scran web site. Tiziano Vecellio | High Renaissance painter | Tutt'Art@ | Pittura * Scultura * Poesia * Musica | maria laterza Art Styles and Categories: 16th century Art , Italian Artist , Renaissance Art Movement Titian [ca. 1485-1576] was the greatest painter of 16th-century Venice, and the first painter to have a mainly international clientele. During his long career, he experimented with many different styles of painting which embody the development of art during his epoch. Youth and debut Titian (Tiziano Vecellio) was born in Pieve di Cadore, a small town at the foot of the Dolomites on the Venetian side of the Alps.

The Vecellios had been based in Cadore since the 14th century. Titian’s father, Gregorio, was a military man. His older brother Francesco was also a painter. There is still no documentary evidence of Titian’s exact date of birth, but contemporary sources and his early stylistic development suggest that he was born around 1490. When he was about 10 years old, Titian arrived in Venice, then one of the wealthiest and most cosmopolitan cities in the world. Titian started his artistic training in the workshop of the mosaicist Sebastiano Zuccato. He later briefly joined Gentile Bellini’s workshop. After Gentile’s death in 1507, Titian joined the workshop of Gentile's brother, Giovanni Bellini , which at that time was the most important in Venice. However, it was through contact with Giorgione , who had also previously trained in Giovanni Bellini ’s workshop, that he mainly developed his early style. The Giorgionesque appearance of Titian’s early work, which is characterized by a pastoral mood, is proof of their closeness.

In 1508-9 they worked together on the decoration of the external walls of the ‘Fondaco dei Tedeschi’ in Venice. The parts executed by Titian were greatly praised by contemporaries, much to the annoyance of Giorgione . After Giorgione’s death in 1510 and Sebastiano del Piombo ’s departure to Rome in 1511, Titian launched his independent career in Venice. He was now left without rivals among his generation who could compete at his level. Early local success In 1511 Titian painted his celebrated frescoes in the ‘Scuola del Santo’ in Padua. His style had now reached maturity, marked by fullness of forms, compositional confidence and chromatic balance. These features made his work fundamental to the development of Venetian - and also European - painting. He became famous as a portraitist (examples in the National Gallery are La Schiavona and Portrait of Gerolamo Barbarigo). He was also known as a painter of various profane subjects. These skills drew the attention of intellectually ambitious Italian dukes and aristocrats. Titian was also commissioned to paint prestigious public religious paintings.

His Venetian success was sealed by the execution of the altarpiece for the high altar of the important Franciscan church of Santa Maria Gloriosa dei Frari in Venice. The so-called ‘Assunta’ (Assumption of the Virgin Mary), which is nearly seven metres high, was displayed in 1518, creating a revolutionary watershed in Venetian altarpiece design. Between 1519-1526, he painted the celebrated ‘Pala Pesaro’ for the same church. This asymmetrical composition strongly influenced Venetian altarpiece painting right up until the 18th century. North Italian courts Early in 1516 Titian started his professional relationship with Alfonso I d’Este, Duke of Ferrara and spent time in Alfonso’s castle. The duke wanted to create a private cabinet, which would be known as the ‘camerino d’alabastro’ (the alabaster cabinet), with mythological scenes derived from classical poetry. The duke employed the painters he considered to be the best at the time. Apart from Titian, the other artists were Raphael , Fra Bartolomeo and Dosso Dossi.

Following the deaths of Raphael and Fra Bartolomeo Titian’s involvement in the project increased. He then executed his two famous Bacchanals for Alfonso I, today in the Prado, Madrid, along with Bacchus and Ariadne, now in the National Gallery. Titian also worked for the court of Mantua. In 1523 he began painting for the future Duke of Mantua, Federico II Gonzaga the son of Isabella d’Este (who was the sister of Titian’s earlier patron Alfonso I). Titian mainly painted portraits for the Mantuan court. In 1532 Titian started to work for the Duke of Urbino, Francesco Maria della Rovere. He would also work for his successor, Guidobaldo II. In the 1530s, he was also in touch with the court of Pope Paolo III Farnese. Worldwide success, family and friends The 1520s were hugely significant for Titian’s private life. In 1525 he married Cecilia (who tragically died in 1530).

Titian and Cecilia had three children, who were all given the names of famous figures from ancient Rome: Pompeo, Orazio and Lavinia. Titian’s meeting with the Holy Roman Emperor Charles V in Bologna in 1530 would be a determining event in his life. On this occasion Titian executed a (now lost) full-length, life-size portrait of the Emperor - an early example of what was still an extremely innovative genre at that time. He rapidly became the principal painter to the imperial court, which gave him immense privileges, honours and even titles. From this moment he was the painter most in demand at courts across Europe. Titian also became the official painter of Charles V’s son, Philip II of Spain. Starting in about 1551, he painted the celebrated mythological series of pictures for Philip, which he referred to as ‘poesie’. The "poesie" included Diana and Actaeon and Diana and Callisto, which are now part of the National Gallery's collection, along with The Death of Actaeon, which was originally conceived as part of the series, but in fact remained unfinished in the artist's studio at his death.

In 1527 the Florentine sculptor and architect Jacopo Sansovino and the Tuscan man of letters Pietro Aretino arrived in Venice. They became inseparable friends with Titian, stimulating his interest in Mannerism , a style first seen in his paintings from that period. Mannerist aspects in his art increased after his only trip to Rome in 1545-6, where he finally got the opportunity to meet Michelangelo . Late years The last phase of Titian’s life coincided with a radical revision of his own style and painting technique. Starting from the late 1550s, Titian developed a much freer use of the brush and a less descriptive representation of reality. In the late 1560s and early 1570s, when Titian was already extremely old, he pushed his art to the edge of Abstraction . This later style has been defined as ‘magic Impressionism ’. All of this is well represented by two of his latest works, The Death of Actaeon at the National Gallery, and the ‘ Pietà ’, now in the Gallerie dell’Accademia in Venice.

The " Pietà " was originally destined for his own tomb in the church of Santa Maria Gloriosa dei Frari, where Titian was buried after dying of the plague on 27 August 1576. | © The National Gallery, Trafalgar Square, London. Tiziano - Pieta, 1576 Tiziano Vecellio - Pittore (Pieve di Cadore 1488-90 - Venezia 1576). Per via della discordanza delle fonti la data di nascita di T., e dunque la definizione della sua presenza nel complesso panorama artistico veneziano dell'inizio del sec. 16°, è questione tuttora non concordemente risolta. Dopo un apprendistato con S. Zuccato, mosaicista, T. fu nella bottega di Gentile Bellini e quindi presso Giovanni Bellini .

Il suo orientamento appare subito sicuro e geniale: i suoi riferimenti ( Bellini , Giorgione , Dürer , ma anche Raffaello e Michelangelo ) si configurano come strumento di aggiornamento e di arricchimento espressivo da parte di una personalità già pienamente indipendente. Tra le prime opere veneziane, accanto alla paletta di Anversa (Musée royal des beaux-arts, 1506 circa), compendio della tradizione belliniana e delle novità tedesche, al giorgionesco Concerto (Firenze, Galleria Palatina), al Cristo portacroce (Venezia, Scuola di S. Rocco), sono gli affreschi del Fondaco dei Tedeschi (1508-09) dove nel 1508 era all'opera Giorgione .

Anche dai pochi frammenti rimasti (Venezia, Ca' d'Oro) si delinea la distanza tra i due maestri - anche in quelle opere, vicine per impostazione e tematiche, che hanno indotto incertezze attributive (Concerto campestre, 1509-10, Louvre) e ipotesi diverse di collaborazione (Venere, Dresda, Gemäldegalerie) - soprattutto per l'impostazione monumentale e l'ampia gestualità delle figure, i vivi e luminosi accordi cromatici dei vasti piani di colore, evidenti nella prima opera documentata conservata, gli affreschi della Scuola del Santo a Padova (1511). Nel 1513 T. rifiutò l'invito di P. Bembo a trasferirsi a Roma, e contestualmente offrì i proprî servigi alla Serenissima, impegnandosi a dipingere una Battaglia per Palazzo Ducale (terminata nel 1538).

Artista colto, trattò per committenze ufficiali e private le tematiche più diverse: dalla immediata allegoria moraleggiante delle Tre età (1512-13, Edimburgo, National gallery of Scotland) alla complessa e serrata metafora dell'Amor sacro e profano (1514-15, Roma, galleria Borghese), dove l'assenza di notizie certe sulla sua genesi progettuale è alla base della lunga e discorde storia della sua interpretazione da parte della critica. Tra i dipinti religiosi sono l'Assunta (1516-18) di S.

Maria dei Frari, grandiosa macchina luminosa e cromatica che si impone come punto focale nell'amplissimo interno della chiesa; la pala Pesaro (1519-26, per la stessa chiesa), dalla nuovissima e suggestiva impaginazione spaziale basata sulle diagonali; la pala Gozzi (1520, Ancona, Pinacoteca Comunale); il polittico Averoldi (1522, Brescia, SS. Nazaro e Celso), in cui T. restituisce unità scenica alla tradizionale divisione in scomparti.

Al successo raggiunto in questi anni fa riscontro il favore incontrato presso le corti italiane e europee: per Alfonso d'Este dipinse grandi tele mitologiche (Offerta a Venere, 1518-19, Prado; Bacco e Arianna, 1522-23, Londra, National Gallery; Gli Andri, 1523-24, Prado); numerosi i ritratti per le grandi famiglie, nei quali alla idealizzazione del carattere o alla rappresentazione del ruolo sociale fa riscontro la straordinaria intensità psicologica o emozionale (Carlo V col cane, 1532-33, Prado; Isabella d'Este, 1536, Vienna, Kunsthistorisches Museum; Francesco Maria della Rovere e Eleonora Gonzaga, 1537, Uffizi); per Guidobaldo della Rovere eseguì la Venere di Urbino (1538, Uffizi), allegoria matrimoniale dalla scoperta sensualità.

Il confronto con le esperienze manieriste dell'Italia settentrionale e centrale, culminato con il viaggio a Roma del 1545-46, determinò una nuova fase di sperimentazione stilistica: dalla classica dignità formale delle prime opere T. giunse a nuove soluzioni, dove i contrasti chiaroscurali, il plasticismo e il dinamismo compositivo tendono a risolversi nella preziosità del colore e nel libero e accentuato luminismo (Incoronazione di spine, 1542-44, Louvre; Danae, 1544-45, Napoli, Museo nazionale di Capodimonte; Paolo III con i nipoti, 1546, ivi). Alla risposta decisamente veneziana data da T.

alla cultura romana seguirà tuttavia, con i soggiorni ad Augusta del 1548 e del 1550-51, una rarefazione della produzione per Venezia, che corrispose a un impegno crescente per la committenza di Carlo V e di Filippo II di Spagna. Carlo Va cavallo (1548, Prado) è esempio dell'originalità con cui T. sviluppò il "ritratto di Stato"; sempre per Carlo V trattò il tema religioso nella Gloria (1551-54, Prado), immagine di acuta funzionalità teologico-politica, quindi nella Deposizione (1559, ivi), nella S. Margherita (1560-65, ivi).

Per Filippo II tornò ad eseguire dipinti mitologici, ma secondo una nuova interpretazione drammatica e negativa (Venere e Adone, 1554, Prado; Diana e Atteone e Diana e Callisto, 1556-59, Edimburgo, National gallery of Scotland; Morte di Atteone, 1570-76, Londra, National Gallery). Alla sofferta meditazione sul destino dell'uomo delle ultime opere fa riscontro la totale dissoluzione della forma, in un linguaggio fatto di tocchi di luce e colore, spesso dato sulla tela direttamente con le dita; una libertà espressiva per la quale T. accettò anche l'inadempienza dello spregiudicato committente spagnolo, che gli permetteva d'altro canto una totale libertà di invenzione e di interpretazione.

Punti cruciali e conclusivi di questo itinerario sono l'Incoronazione di spine (1570, Monaco, Alte Pinakothek), il Supplizio di Marsia (1570, Kroměříž, pinacoteca del castello), la Pietà (Venezia, gallerie dell'Accademia), dipinta per la propria tomba e rimasta incompiuta nel suo studio. Il figlio Orazio (n. 1515 circa - m. Venezia 1576) fu suo allievo e collaboratore. | © Treccani, Enciclopedia italiana 1000+ images about Titian (Tiziano Vecellio) 1485 - 1576 on Pinterest | Museums, Portrait and Self portraits The Man with the Blue Sleeve by Titian. I went to the National Gallery in London, specifically to see this painting. See more WebMuseum: Titian Timeline: The High Renaissance Titian (Tiziano Vecellio) (c. 1485-1576). The greatest painter of the Venetian school.

The evidence for his birthdate is contradictory, but he was certainly very old when he died. He received the more important part of his training in the studio of Giovanni Bellini , then came under the spell of Giorgione, with whom he had a close relationship. In 1506-08 he assisted him with the external fresco decoration of the Fondaco dei Tedeschi, Venice, and after Giorgione's early death in 1510 it fell to Titian to complete a number of his unfinished paintings. The authorship of certain works (some of them famous) is still disputed between them. Titian's first great commission was for three frescos in Padua (Scuola del Santo, 1511), noble and dignified paintings suggesting an almost central Italian firmness and monumentality. When he returned to Venice, Giorgione having died and Sebastiano gone to Rome, the aged Bellini alone stood between him and supremacy, and that only until 1516 when Bellini died and Titian became official painter to the Republic. Meanwhile he was gradually winning free from the stylistic domination of Giorgione and developing a manner of his own.

Something of a fusion between Titian worldliness and Giorgione's poetry is seen in the enigmatic allegory known as Sacred and Profane Love (Villa Borghese, Rome, c. 1516). This work inaugurated a brilliant period in Titian's creative career during which he produced splendid religious, mythological, and portrait paintings, original in conception and vivid with color and movement. A series of great altarpieces opens with the Assumption (Sta Maria dei Frari, Venice, 1516-18), which in the soaring movement of the Virgin, rising from the tempestuous group of Apostles towards the hovering figure of God the Father, contradicts the stable basis of quattrocento and High Renaissance composition and looks forward to the Baroque . The strong, simple colors used here, and the artist's evident pleasure in the silhouetting of dark forms against a light background, reappear throughout the work of this period.

There followed the Pesaro altarpiece (Sta Maria dei Frari, Venice, 1519-26), a bold diagonal composition of great magnificence in which architectural motifs are used to enhance the drama of the scene, and the altarpiece of St Peter Martyr (now destroyed but known to us from several copies and engravings), where trees and figures together form a violent centrifugal composition suited to the action; Vasari described it as `the most celebrated, the greatest work... that Titian has ever done'. Titian's finest mythological works from this period are three pictures (1518-23) for Alfonso d'Este -- the Worship of Venus (both in the Prado, Madrid), and the Bacchus and Ariadne (National Gallery, London) -- and outstanding among his portraits is the exquisite Man with a Glove (Louvre, Paris, c. 1520). About 1530, the year in which his wife died, a change in Titian's manner becomes apparent. The vivacity of former years give way to a more restrained and meditative art.

He now began to use related rather than contrasting colors in juxtaposition, yellows and pale shades rather than the strong blues and reds which shouldered each other through his previous work. In composition too he became less adventurous and used schemes which, compared with some of his earlier works, appear almost archaic. Thus his large Presentation of the Virgin (Accademia, Venice, 1534-38) makes use of the relief-like frieze composition dear to the quattrocento. During the 1530s Titian's fame spread throughout Europe. In 1530 he first met the emperor Charles V (in Bologna, where he was crowned in that year) and in 1533 he painted a famous portrait of him (Prado) based on a portrait by the Austrian Seisenegger. Charles was so pleased with it that he appointed Titian court painter and elevated him to the rank of Count Palatine and Knight of the Golden Spur -- an unprecedented honor for a painter. At the same time his works were increasingly sought after by Italian princes, as with the celebrated Venus of Urbino (Uffizi, Florence, c.

1538), named after its owner, Guidobaldo, Duke of Camerino, who later became Duke of Urbino. The pose is based on Giorgione's Sleeping Venus (Gemï¿½ldegalerie, Dresden), but Titian substitutes a direct sensual appeal for Giorgione's idyllic remoteness. Early in the 1540s Titian came under the influence of central and north Italian Mannerism, and in 1545-6 he made his first and only journey to Rome. There he was deeply impressed not only by modern works such as Michelangelo 's Last Judgement , but also by the remains of antiquity. His own paintings during this visit aroused much interest, his Danaï¿½ (Museo di Capodimonte, Naples) being praised for its handling and color and (according to Vasari) criticized for its inexact drawing by Michelangelo. Titian also painted in Rome the famous portrait of Pope Paul III and his Nephews (Museo di Capodimonte). The decade closed with further imperial commissions.

In 1548 the emperor summoned Titian to Augsburg, where he painted both a formal equestrian portrait ( Charles V at the Battle of Mï¿½hlberg , Prado) and a more intimate one showing him seated in an armchair (Alte Pinakothek, Munich). He travelled to Augsburg again in 1550 and this time painted portraits of Charles's son, the future Philip II of Spain, and the greatest patron of his later career. Titian's work for Philip included a series of seven erotic mythological subjects (c. 1550-62): Danaï¿½ (Ellesmere Collection, on load to the National Gallery of Scotland), and The Death of Actaeon (National Gallery, London). Titian referred to these pictures as poesie , and they are indeed highly poetic visions of distant worlds, quite different from the sensual realities of his earlier mythological paintings. During the last twenty years of his life Titian's personal works, as opposed to those which busy assistants produced under his supervision and with his intervention, showed an increasing looseness in the handling and a sensitive merging of colors which makes them more and more immaterial.

Autumnal tones reflected the artist's meditative spirit. About the same time his interest in new pictorial conceptions waned. About 1550-55 he had painted a powerful Martyrdom of St Lawrence (Gesuiti, Venice), which had affinities with Mannerism in the types and movements of the figures. In 1564-67 he repeated the picture (Escorial, Madrid), but now the light, which played a dramatic part in the first version, became the chief feature, creating and dissolving forms. His powers remained undimmed until the end, and his career closed with the awe-inspiring Pietï¿½ (Accademia, Venice, 1573-76), intended for his own tomb and finished after his death by Palma Giovane. Titian's influence on later artists has been profound: he was supreme in every branch of painting and revolutionized the oil technique with his free and expressive brushwork. Vasari wrote of this aspect of his late works that they `are executed with bold, sweeping strokes, and in patches of color, with the result that they cannot be viewed from near by, but appear perfect at a distance...

The method he used is judicious, beautiful, and astonishing, for it makes pictures appear alive and painted with great art, but it conceals the labor that has gone into them.' His greatness as an artist, it appears, was not matched by his character, for he was notoriously avaricious. In spite of his wealth and status, he claimed he was impoverished, and his exaggerations about his age (by which he hoped to pull at the heartstrings of patrons) are one of the sources of confusion about his birthdate. Jacopo Bassano caricatured him as a moneylender in his Purification of the Temple (National Gallery, London). Titian, however, was lavish in his hospitality towards his friends, who included the poet Pietro Aretino and the sculptor and architect Jacopo Sansovino. These three were so close that they were known in Venice as the triumvirate, and they used their influence with their respective patrons to further each other's careers.

Madonna with saints and members of the Pesaro family Penitent Mary Magdalen 1560s (180 Kb); Oil on canvas, 118 x 97 cm (46 1/2 x 38 in); Hermitage, St. Petersburg ï¿½ 14 Oct 2002, Nicolas Pioch - Top - Up - Info Thanks to the BMW Foundation, the WebMuseum mirrors , partners and contributors for their support. Titian Paintings of Venice, and Oil Painting Reproduction Titian Toperfect Art supplies artist Titian biography and painting knowledge, which is useful for painters and Renaissance art fans. Our art gallery not only supply high-quality Tiziano Vecellio oil painting reproduction for sale, but also sell Renaissance oil paintings classic. The famous artists in our art company are good at Venus Titian in Venice, reproductions on canvas and other beautiful painting wholesale in museum quality such as Venus of Urbino , Assumption of the Virgin. Titian,is known as the “father of oil painting” who brought the application of oil paints to a new stage.

Titian painting in early and medium phases has shown his excellent technique in the use of colours while those in his later phase are composed of bold brushstrokes and piles of pigments. Student of: Giovanni Bellini (1430-1516). Member of: Vecellio family. Biography: Titian (Tiziano Vecellio) (c. 1485-1576). The greatest painter of the Venetian school. The evidence for his birth date is contradictory, but he was certainly very old when he died. He received the more important part of his training in the studio of Giovanni Bellini , then came under the spell of Giorgione, with whom he had a close relationship. In 1506-08 Titian assisted him with the external fresco decoration of the Fondaco dei Tedeschi, painting Titian in Venice, and after Giorgione's early death in 1510 it fell to the painter to complete a number of his unfinished paintings. The authorship of certain Titian works (some of them famous) is still disputed between them. The most famous Titian portrait is Venus of Urbino , Assumption of the Virgin.

This Titian art inaugurated a brilliant period in his creative career during which he produced splendid religious, mythological, and portrait paintings, original in conception and vivid with color and movement. A series of great altarpieces opens with the Assumption (Sta Maria dei Frari, Venice, 1516-18), which in the soaring movement of the Virgin, rising from the tempestuous group of Apostles towards the hovering figure of God the Father, contradicts the stable basis of Quattro cento and High Renaissance composition and looks forward to the Baroque. Early in the 1540s Titian artist came under the influence of central and north Italian Mannerism, and in 1545-6 Tiziano Vecelli made his first and only journey to Rome. There he was deeply impressed not only by modern paintings such as Michelangelo 's Last Judgement, but also by the remains of antiquity. Works of Titian during this visit aroused much interest, his Danaë (Museo di Capodimonte, Naples) being praised for its handling and color and (according to Vasari) criticized for its inexact drawing by Michelangelo.

Titian the artist also painted in Rome the famous portrait of Pope Paul III and his Nephews (Museo di Capodimonte). Here is the best gallery and museum to purchase oil painting copies of Titian Venus of Urbino, Assumption of the Virgin as well as other Venetian painters. The decade closed with further imperial commissions. In 1548 the emperor summoned Titian painter to Augsburg, where he painted both a formal equestrian portrait (Charles V at the Battle of Mühlberg, Prado) and a more intimate one showing him seated in an armchair (Alte Pinakothek, Munich). Tiziano Vecelli travelled to Augsburg again in 1550 and this time painted portraits of Charles's son, the future Philip II of Spain, and the greatest patron of his later career. Titian artwork for Philip included a series of seven erotic mythological subjects (c.

1550-62): Danaë and Venus Titian and Adonis (Prado), Perseus and Andromeda (Wallace Collection, London), The Rape of Europa (Gardner Museum, Boston), Titian Diana and Actaeon and Diana and Calisto (Ellesmere Collection, on load to the National Gallery of Scotland), and The Death of Actaeon (National Gallery, London). Titian the painter referred to these pictures as poesie, and they are indeed highly poetic visions of distant worlds, quite different from the sensual realities of his earlier mythological Titian paintings. His greatness as an artist, it appears, was not matched by his character, for painter Titian was notoriously avaricious. In spite of his wealth and status, he claimed he was impoverished, and his exaggerations about his age (by which Tiziano Vecellio hoped to pull at the heartstrings of patrons) are one of the sources of confusion about his birthdate. Jacopo Bassano caricatured him as a moneylender in his Purification of the Temple (National Gallery, London).

Titian was lavish in his hospitality towards his friends, who included the poet Pietro Aretino and the sculptor and architect Jacopo Sansovino. These three were so close that they were known Titian paintings in Venice as the triumvirate, and they used their influence with their respective patrons to further each other's careers. Analysis of Titian Paintings The memorable grace as well as the bright and rich colors in Titian Venus Urbino reveals an increasing sorrow. In his later years, Titian adopted a method of dissolution, and the habitual golden lines to cover the oil paintings attached an extraordinary luxurious sense to the picture. The development of painting Titian also represents that of western oil painting. Titian Madonna in medium phase affected the Baroque while the later paintings exerted a profound influence on the coming Romanticism and Impressionism . Titian paintings promoted the development of the Venetian school in 16th century, his art, directly or indirectly affected the generations of Venetian painters. So, oil painting lovers are very interested in his biography, and reproductions of his paintings for sale in Titian gallery are prevalent.

Famous Titian Paintings for Sale Toperfect supply oil painting masterpiece reproductions of the famous painter, you are welcome to send us your own picture to copy. Specially for individual customers and collectors, you're suggested to own a Museum Collection by famous artists for such oil painting classic.

Question: Which Italian renaissance painter (1485-1576) had the surname Vecellio?
Answer: TITIAN