Titian Biography of Titian Titian Biography Tiziano Vecelli or Tiziano Vecellio (1488/1490 - 27 August 1576), 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 Veneto, 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, landscape backgrounds, and 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 color.

Although his mature works may not contain the vivid, luminous tints of his early pieces, their loose brushwork and subtlety of tone are without precedent in the history of Western painting. Titian was a leading artist of the Italian Renaissance who painted works for Pope Paul III, King Philip II of Spain and Holy Roman Emperor Charles V. Synopsis Born sometime between 1488 and 1490, Titian became an artist's apprentice in Venice as a teenager. He worked with Sebastiano Zuccato, Giovanni Bellini and Giorgione before branching out on his own. Titian became one of Venice's leading artists around 1518 with the completion of "Assumption of the Virgin." He was soon creating for works for leading members of royalty, including King Philip II of Spain and Charles V, the Holy Roman Emperor. Pope Paul III also hired Titian to paint portraits of himself and his grandsons. Titian died on August 27, 1576. Early Life Born Tiziano Vecellio in what is now Pieve di Cadore, Italy, sometime between 1488 and 1490, Titian is considered one of the greatest painters of the Italian Renaissance.

The oldest of four children born to Gregorio and Lucia Vecellio, Titian spent his early years in the town of Pieve di Cadore, near the Dolomite mountains. In his teens, Titian became an apprentice to the Venetian artist Sebastiano Zuccato. He soon went work with such leading artists as Giovanni Bellini and Giorgione. Giorgione proved to be especially influential to the young painter. Major Works In 1516, Titian began work on his first major commission for a church called Santa Maria Gloriosa dei Frari in Venice. He painted Assumption of the Virgin (1516-1518) for the church's high altar, a masterwork that helped establish Titian as one of the leading painters in the area. He was known for his deft use of color and for his appealing renderings of the human form. A short time after completing the legendary altarpiece, Titian created The Worship of Venus (1516). This mythology-inspired work was just one of several commissioned by Alfonso I d'Este, duke of Ferrara.

Titian managed to cultivate a broad range of royal patrons during his career, including King Philip II of Spain and Holy Roman Emperor Charles V. Titian's Venetian home was a mecca for many of the community's artistic types. He had an especially close friendship with writer Pietro Aretino. Aretino is said to have helped Titian get some of his commissions. Sculptor and architect Jacopo Sansovino was another frequent visitor. Over the years, Titian created portraits of leading figures of the day. He painted two works featuring Pope Paul III between 1545 and '46, and spent six months living at the Vatican while making these paintings. In 1548, he traveled to the court of Charles V, where he painted his portrait as well. In his later career, Titian focused more on religious and mythological works. For Spain's Philip II, he painted Venus and Adonis , a piece inspired by Ovid's "Metamorphoses" that shows the goddess Venus trying in vain to hold on to her beloved Adonis. Titian again explored his fascination with the Roman goddess of love in Venus and the Lute Player (1565-1570).

Death and Legacy While the plague raged in Venice, Titian died of a fever on 27 August 1576. Depending on his unknown birthdate, he probably was in his late eighties or maybe in his nineties. Titian was interred in the Frari (Basilica di Santa Maria Gloriosa dei Frari), as at first intended, and his Piet� was finished by Palma il Giovane. He lies near his own famous painting, the Madonna di Ca' Pesaro. No memorial marked his grave, until much later the Austrian rulers of Venice commissioned Canova to provide a large monument. Through the wealth of works he left behind, Titian has inspired countless generations of artists. Rembrandt, Diego Velazquez , Antoon van Dyck and Peter Paul Rubens are just a handful of painters who were influenced by the great Venetian artist. 1000+ images about Titian Italian painter on Pinterest | Italian renaissance, Portrait and Venetian Titian (1488/1490-1576) Venus Anadyomene Date: c.

1520 Movement: Renaissance (High Italian, "Cinquecento") Theme: Mythology Technique: Oil on canvas Museum: National Gallery of Scotland Location: Edinburgh, UK See More 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. 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 Titian | artist | active about 1506; died 1576 | National Gallery, London active about 1506; died 1576 Titian 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. Detail from Titian, Self Portrait, 1566.

Madrid, Prado © Museo Nacional del Prado, Madrid 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 characterised 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 and 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.

Related paintings Titian: Paintings, Biography of Titian of Titian Titian and his paintings Titian was born Tiziano Vecelli or Vecellio in Cadore, in the Republic of Venice, some time around 1488 to 1490. His exact date of birth is unknown, and he is thought to have misinformed people of his age during his lifetime. He was one of the most versatile and adept of the Italian Renaissance painters, particularly admired for his skill with colour and fine brushwork. He painted a wide range of subjects, from landscapes, to portraiture, to spiritual or mythological scenes, and his style, though changing dramatically over the course of his lifetime, continued to show his perfect understanding of colour and tone. In his lifetime, he was second only to Michelangelo in fame and success, and was the first painter to paint primarily for an overseas client�le. He gained commissions from royalty and important people around Europe, who recognised the greatness of his talents. At the age of ten or twelve, Titian arrived in Venice to start his training. He studied under Gentile and then Giovanni Bellini, leading artists in the city.

It seems he showed a lot of talent, even at his young age. Some early works include the fresco of Hercules, situated in on the Morosini Palace, Gypsy Madonna , and the 'Visitation of Mary and Elizabeth'. The Man with a Quilted Sleeve is said to be another work from this period which is particularly well-executed, especially in the texture of the sleeve. The composition was later emulated by Rembrandt in his self portraits. After this early training, Titian joined one of his contemporaries, Giorgio da Castelfranco, known as Giorgione, as an assistant. There is still much contention today in attributing works to one or other of these two masterful painters, as their style is very similar. At the time critics commented however that Titian, the assistant, produced the more impressive work. Still, both were and are lauded as leaders of the arte moderne movement. This new style of painting was characterised by a new freedom in style and composition, a rejection of the formal symmetries and hierarchical representation still found, for example, in the works of their old tutor, Giovanni Bellini.

There was, it seems, a certain rivalry between the two men, though the similarity between Titian's early style and Giorgione's is proof of their closeness. When Giorgione tragically died young, in 1510, and another of Titian's successful contemporaries, Sebastiano del Piombo, moved to Rome, Titian was left unrivalled in Venice. During his life it was said of Titian that he was a sun amongst minor stars. It was during this time that Titian really came into his own. His style was still heavily influenced by Giorgione, but he began to experiment more with his own style, developing bold, confident flair with a brush. For over sixty years, Titian was to be viewed as a masterly painter, without peer in Venice. In 1516, Titian created his masterpiece, Assumption of the Virgin for the Basilica di Santa Maria Gloriosa dei Frari. It is still there today. This was the first of a series of framed altarpieces, which culminated in the perfectly conceived 'Pesaro Madonna', in which a classic formula was achieved. This formula has been much studied and emulated by later artists.

Titian was at the height of his skills, and became well known not only for his religious work, but also for his portraiture, for example, 'La Schiavona' and many of Pietro Aretino, an outspoken thinker who championed Titian's work; mythological scenes like Bacchus and Ariadne , and his half-length or busts of women, examples of which include Flora and Woman with a mirror . In this period, he gained much attention from Dukes of the North Italian Courts. In the 1420s Titian had four children with his paramour, then wife, Cecilia. Titian had lived happily with Cecilia and had two children out of wedlock. They married when she was gravely ill. Fortunately, she recovered. They had two more children but, sadly, she died in childbirth only a few years after their marriage. Titian's reputation grew, and spread, throughout the following decades. His understanding of colour continued to be unmatched, as is particularly evident in such works as Danae , and the reclining Venuses, including the Venus of Urbino , some of the fleshy nudes for which Titian became well known.

His versatilities too, was impressive, as he continued to produce a huge variety of different types of painting, from the religious to the profane. He could paint royalty or artists, or beasts, with the same attention to detail and beautiful fluid brushwork, and tackled Madonnas and lowly prostitutes with the same aplomb. Titian gained yet more influence as time passed, completing works for the Pope, Paul III, and Charles V. He was given the title of Count Palatine and was made knight of the Golden Spur. His children were also ennobled and he was granted the Freedom of the City of Rome during a visit of 1546, when he also finally got the opportunity to meet Michelangelo. Mannerist aspects in Titian's work increased after this meeting. For much of the rest of his life, Titian worked for Charles V's son, Philip II of Spain, and his later works are characterised by a free and assured style that led one of his pupils to say that he worked more with his fingers than his brush. He lived a long life, but died of the plague in 1576, and was interred in the Frari Basilica.

As a portraitist, Titian is often compared to Rembrandt and Diego Velazquez . It is said that his portraits prefigured the internal life and depth of the former, and the clarity and certainty of the later. Titian knew paint like no other, not sketching, but working, and reworking, the paint directly on the canvas, with surety of colour mixing and brushwork that was second to none. His bold use of colour has influenced countless artists that followed him, not just immediately afterwards, but well into the 20th and 21st Centuries. His composition was also very influential on artists throughout the 16th-18th Centuries, and has been widely studied since. Without a doubt, Titian belongs among the top-tier Renaissance artists , and his name has become synonymous with the best of the Renaissance Art. Along with Leonardo da Vinci , Michelangelo , Donatello , Shakespeare , and a small band of contemporaries, Titian become the center of a movement of artists that has permanently enriched western culture.

Titian's groundbreaking use of bold, brilliant colors, his striking and powerful composition, and his loose, revolutionary brushwork inspired many generations of artists, including Rembrandt , Caravaggio , Peter Paul Rubens and van Dyck. Few artists have had such a profound and far-reaching influence on the art world. 1000+ images about Titian on Pinterest | The head, Museums and Portrait Santa Margarita de Antioquía/ Margaret of Antioch//c.1565//TIZIANO, VECELLIO DI GREGORIO//La historia de Santa Margarita, virgen de Antioquía del siglo III martirizada por Diocleciano tras su conversión al cristianismo, fue recogida por Santiago de la Voragine en La Leyenda Dorada. See More Venus and Adonis (Getty Museum) Venus and Adonis This image is available for download, without charge, under the Getty's Open Content Program .

Venus and Adonis Titian (Tiziano Vecellio) (Italian, about 1487 - 1576) 160 × 196.5 cm (63 × 77 3/8 in.) 92.PA.42 Open Content images tend to be large in file-size. To avoid potential data charges from your carrier, we recommend making sure your device is connected to a Wi-Fi network before downloading. Currently on view at: Getty Center, Museum North Pavilion, Gallery N205 Object Details Titian (Tiziano Vecellio) (Italian, about 1487 - 1576) Culture: 160 × 196.5 cm (63 × 77 3/8 in.) Previous Attributions: Titian (Tiziano Vecellio) (Italian, about 1487 - 1576) Department: See more See less The goddess Venus tries to restrain her lover Adonis from going off to the hunt. She clings to him, imploring him not to go, but Adonis looks down at her impassively.

His dogs strain at their leashes, echoing his impatience, as detailed in the tragic love story found in Ovid's Metamorphoses. Cupid sleeps in the background, a symbol of Adonis's resistance to Venus's entreaties, since his ineffective arrows hang uselessly in a tree. The story ends tragically; during the hunt the mortal Adonis is fatally gored by a wild boar. Titian's loose, energetic strokes of paint give the painting a sense of spontaneity and movement. In some areas, the artist even painted with his finger, as seen in Adonis's arm. The composition's dynamism springs from the torsion caused by Venus's awkward pose, which was inspired by an ancient sculptural relief. Titian used rich colors, shimmering highlights, and a lush landscape to create the painting's evocative, poignant mood. Giovanni Vincenzo Imperiale, 1582 - 1648 (Genoa, Italy), by inheritance to his heirs, 1648. Source: 1648 Inventory.

Heirs of Giovanni Vincenzo Imperiale, 1582 - 1648 (Genoa, Italy), sold to Francesco Maria Balbi, 1665. 1665 - Francesco Maria Balbi, 1619 - 1704 (Genoa, Italy), sold to Christina, queen of Sweden. - 1689 Christina, queen of Sweden, 1626 - 1689 (Stockholm, Sweden; Rome, Italy), by bequest to Decio Azzolino, 1689. 1689 Cardinal Decio Azzolino, 1623 - 1689 (Rome, Italy), by inheritance to Pompeo Azzolino, 1689. 1689 - 1696 Marchese Pompeo Azzolino, died 1696 (Rome, Italy), sold to Livio Odescalchi, 1696.

1696 - 1713 Prince Livio Odescalchi, died 1713 (Rome, Italy), by inheritance to Baldassare Erba Odescalchi, 1713. 1713 - 1721 Baldassare Erba Odescalchi, died 1746 (Rome, Italy), sold to Pierre Crozat, 1721. 1721 Pierre Crozat, French, 1665 - 1740 (Paris, France) - 1723 Philippe II, duc d'Orléans and regent of France, 1674 - 1723 (Paris, France), by inheritance to his son, Louis, 1723. 1723 - 1752 Louis, duc d'Orléans, 1703 - 1752 (Paris, France), by inheritance to his son, Louis-Philippe, 1752.

1752 - 1785 Louis-Philippe, duc d'Orléans, 1725 - 1785 (Paris, France), by inheritance to his son, Louis-Philippe-Joseph, 1785. 1785 - 1792 Louis-Philippe-Joseph, duc d'Orléans, 1747 - 1793 (Paris, France), sold to Édouard de Walkuers, 1792. 1792 Vicomte Édouard de Walkuers (Brussels, Belgium), sold to François-Louis-Joseph de Laborde-Méréville, 1792. 1792 - 1793 François-Louis-Joseph de Laborde-Méréville, 1761 - 1802 (Paris, France; London, England), consigned to Jeremiah Harman, 1793.

1793 - 1798 Jeremiah Harman, about 1764 - 1844 (London, England) [sold, Orléans collection sale, Bryan, London, December 26, 1798, lot 224, to a consortium of George Granville Leveson-Gower, Frederick Howard, and Francis Egerton.] 1798 George Granville Leveson-Gower, first duke of Sutherland, 1758 - 1833 1798 and Francis Egerton, third duke of Bridgewater, 1736 - 1803 (London, England) 1798 and Frederick Howard, fifth earl of Carlisle, 1748 - 1825 (London, England), upon purchase, Frederick Howard selected this painting as part of his share. 1798 - Frederick Howard, fifth earl of Carlisle, 1748 - 1825 (Castle Howard, North Yorkshire, England) 1799 - 1844 Mr.

FitzHugh 1844 - 1868 Welbore Ellis Agar, second earl of Normanton, 1778 - 1868 (Somerley, Hampshire, England), by inheritance to James Charles Herbert Welbore Ellis Agar, 1868. 1868 - 1896 James Charles Herbert Welbore Ellis Agar, third earl of Normanton, 1818 - 1896 (Somerley, Hampshire, England), by inheritance to Henry Fox, 1896. 1896 - 1933 Henry Fox, first baron Holland, 1705 - 1774 (Somerley, Hampshire, England), by inheritance to Edward John Sidney Christian Welbore Ellis Agar, 1933. 1933 - 1967 Edward John Sidney Christian Welbore Ellis Agar, fifth earl of Normanton, 1910 - 1967 (Somerley, Hampshire, England), by inheritance to Shaun James Christian Welbore Ellis Agar, 1967.

1967 - 1991 Shaun James Christian Welbore Ellis Agar, sixth earl of Normanton, born 1945 (Somerley, Hampshire, England) [sold, Normanton sale, Christie's, London, December 13, 1991, lot 85, to Hazlitt, Gooden and Fox Ltd., London, and H. Shickman Gallery.] 1991 - 1992 H. Shickman Gallery (New York, New York) 1991 - 1992 and Hazlitt, Gooden & Fox Ltd. (New York, New York; London, England), sold to the J. Paul Getty Museum, 1992. Exhibition of Works by the Old Masters, and by Deceased Masters of the British School: Winter Exhibition, Thirteenth Year (January 2 to March 11, 1882) (cat.

146) Royal Academy of Arts (London), January 2 to March 11, 1882 L'Età di Rubens: Dimore, committenti e collezionisti genovesi (March 20 to July 11, 2004) (cat. 71) Palazzo Ducale (Genova), March 20 to July 11, 2004 Titian, Tintoretto, Veronese: Rivals in Renaissance Venice (March 15, 2009 to January 5, 2010) (cat. 33) Museum of Fine Arts, Boston, March 15 to August 16, 2009 Bibliography Catalogue of the Orleans' Italian Pictures, Which Will Be Exhibited for Sale by Private Contract, on Wednesday, the 26th of December, 1798, and the Following Days, at the Lyceum in the Strand (London: Sampson Low, 1798), p. 11, no. 224. Couché, Jacques.

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Tour of a German Artist in England: With Notices of Private Galleries, and Remarks on the State of Art. 2 vols. (London: Saunders and Otley, 1836; repr., East Ardsley, Wakefield: EP Publishing Limited, 1978), vol. 2, p. 199, Tizian, no. 19 (Catalogue of the Pictures from the Orleans Gallery). Piot, Eugène. "Sur la Galerie d'Orléans vendue a Londres en 1798: Liste des prix d'adjudication." Le Cabinet de l'amateur et de l'antiquaire 4 (1846), p. 519. Waagen, Gustav Friedrich. Treasures of Art in Great Britian: Being an Account of the Chief Collections of Paintings, Drawings, Sculptures, Illuminated Mss., &c., &c. 3 vols. (London: John Murray, 1854), vol. 2, p. 497, no. 14. Waagen, Gustav Friedrich.

Galleries and Cabinets of Art in Great Britain: Being an Account of More than Forty Collections of Paintings, Drawings, Sculptures, Mss. Visited in 1854 and 1856, and Now for the First Time Described (London: John Murray, 1857), p. 366. Campori, Giuseppe. Raccolta di cataloghi ed inventarii inediti di quadri, statue, disegni [...] dal secolo XV al secolo XIX (Modena: Tipografia di Carlo Vincenzi, 1870; repr., Sala Bolognese: Arnaldo Forni Editore, 1975), p. 340 (catalogo dei quadri della regina di Svezia, 1689 circa, Archivio Palatino). Exhibition of Works by the Old Masters, and by Deceased Masters of the British School: Winter Exhibition, Thirteenth Year, exh. cat. (London: Royal Academy of Arts, 1882), p. 32, no. 146. Redford, George.

Art Sales: A History of Sales of Pictures and Other Works of Art: With Notices of the Collections Sold, Names of Owners, Titles of Pictures, Prices and Purchasers. 2 vols. (London: Bradbury, Agnew, & Co., 1888), vol. 1, p. 74. Granberg, Olof. Drottning Kristinas tafvelgalleri på Stockholms slott och i Rom, dess uppkomst och dess öden ända till våra dagar (Stockholm: Ivar Hæggströms boktryckeri, 1896), p. 93, no. 115 (app. 2, Marquis du Fresne, "Inventaire des raritéz qui sont dans le cabinet des antiquitez de la sérénissime reine de Suède, fait l'an 1652", Kongl. Biblioteket, Stockholm); p. 118, no. 17 (app.

3, "Inventarium öfver drottning Kristinas tafvelgalleri i Rom, troligen upprättadt strax efter hennes död" 1689, Archivio Palatino, Rome); p. 159, no. 58 (app. 4, "Inventarium öfver drottning Kristinas forna tafvelgalleri i Rom, upprättadt vid samlingens försäljande till hertigen(-regenten) af Orléans och dateradt Rom 14 Jan. 1721", British Museum, London). Granberg, Olof. La Galerie de tableaux de la reine Christine de Suède ayant appartenu auparavant à l'empereur Rodolphe II, plus tard aux ducs d'Orléans. Pomian Hajdukiewicz, trans. (Stockholm: Ivar Haeggström, 1897), p. 35, no. 30; p. lvi, no. 17 (app.

3, "Inventaire de la galerie de tableaux de la reine Christine a Rome, probablement fait en 1689, peu après la mort de la reine", Archivio Palatino, Rome); p. xcvii, no. 58 (app. 4, "Inventaire de la galerie de tableaux de la reine Christine a Rome, fait en 1721", British Museum, London). Granberg, Olof. Kejsar Rudolf II:s konstkammare och dess svenska öden och om uppkomsten af Drottning Kristinas tafvelgalleri i Rom och des skingrande: nya forskningar (Stockholm: Gustaf Lindströms Boktryckeri, 1902), pp. 36, 107, no. 44. Roldit, Max. "The Collection of Pictures of the Earl of Normanton at Somerley, Hampshire: Article III, Works by Painters of Foreign Schools." The Burlington Magazine for Connoisseurs 4, no. 10 (January 1904), pp. 16-17, ill.

Stryienski, Casimir. La Galerie du Régent Philippe, duc d'Orléans (Paris: Goupil & Cie, Éditeurs-Imprimeurs, 1913), pp. 23, 46; 151, no 40. Gould, Cecil. National Gallery Catalogues: The Sixteenth-Century Venetian School (London: The National Gallery, 1959), p. 100, under no. 34. Waterhouse, Ellis. "Queen Christina's Italian Pictures in England." In Queen Christina of Sweden: Documents and Studies. Magnus von Platen, ed. (Stockholm: Kungl. Boktryckeriet P. A. Norstedt & Söner, 1966), p. 374, no. 60. Wethey, Harold E. The Paintings of Titian. Vol. 3, The Mythological and Historical Paintings (London: Phaidon, 1975), pp. 60, 191-92, no. 42; 275, fig. 190.

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(Norwich: Michael Russell, 1993), p. 151, pl. 7. "Acquisitions/1992." The J. Paul Getty Museum Journal 21 (1993), p. 117, no. 22. Borsellino, Enzo. "Cristina di Svezia collezionista." Ricerche di storia dell'arte 54 (1994), p. 12. Birkmaier, U., A. Wallert, and A. Rothe. "Technical Examinations of Titian's 'Venus and Adonis': A Note on Early Italian Oil Painting Technique." In Historical Painting Techniques, Materials, and Studio Practice. A. Wallert, ed. (Los Angeles: GCI, 1995), pp. 117-26, fig. 5, pl. 26. Fredericksen, Burton B., et al. Masterpieces of Painting in the J. Paul Getty Museum. 3rd ed. (Malibu: J. Paul Getty Museum, 1995), unpaginated, no. 11, ill., entry by David Jaffé.

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Question: Which Venetian artist painted 'Venus and Adonis' and 'The Assumption of the Virgin'?
Answer: TITIAN