Tag Archives: titian

#ArtSaturday Tiziano Vecelli (or Tiziano Vecellio), known as Titian in English, 1488/1490-1576
Italian Renaissance painter

Self-Portrait, 1555 pic.twitter.com/Y9qukKMV9k

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 27, 2019

#ArtSaturday Titian
Titian is one of the most infulential figures in the history of painting, and is considered the most important member of the 16th-century Venetian school (Renaissance).

Christ Carrying the Cross, 1508-09 pic.twitter.com/j4s5qTyMTj

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 27, 2019

#ArtSaturday Titian
When he was elderly, Titian claimed (in a letter to Philip II of Spain) that he’d been born in 1474, which would have made him over 100 when he died, but modern scholars place him at a younger age.

Portrait of a Man in a Red Cap, 1508-09 pic.twitter.com/Un0zrtcBii

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 27, 2019

#ArtSaturday Titian
Around the age of 10, Titian was sent to be an apprentice to a renowned painter.

Portrait of a Lady, 1510 pic.twitter.com/5GL60m6rjS

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 27, 2019

#ArtSaturday Titian
Soon, Titian was transferred to the school of Gentile Bellini, of a noted family of Italian Renaissance painters, and later, to that of Gentile’s brother, Giovanni, the most famous of the Bellini brothers, who influenced Titian’s work.

The Gypsy Madonna, 1510 pic.twitter.com/d0GsDDv28k

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 27, 2019

#ArtSaturday Titian
One of Titian’s early portraits was the elaborately detailed Man in a Coat with a Quilted Sleeve (1509). The identity of the sitter is still hotly debated, but the technique and the painting itself have always been praised. pic.twitter.com/bRAmj3b16x

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 27, 2019

#ArtSaturday Titian
Even in his own lifetime, Titian was regarded as a “modern artist” since the poses of sitters and the paintings’ compositions were more flexible than those of other Renaissance painters (or of those who preceded them).

Woman with a Mirror, 1512-1515 pic.twitter.com/uWonX0KOUB

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 27, 2019

#ArtSaturday Titian
One of the more striking aspects of Titian’s portraits and paintings was the metaphorical dissolution of the distance between viewer and object because Titian’s subjects often looked directly out of the frame.

Sacred and Profane Love, 1514 pic.twitter.com/zENNFG9ZD7

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 27, 2019

#ArtSaturday Titian
Between 1516 and 1530, Titian’s art matured in technical skill and compositional complexity, and he soon became an acknowledged master.

Salome with the Head of John the Baptist (also, Judith with the Head of Holofernes), 1515 pic.twitter.com/RpqVMmUK1V

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 27, 2019

#ArtSaturday Titian

The Three Ages of Man, 1515 pic.twitter.com/WYlW3ZCOe2

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 27, 2019

#ArtSaturday Titian

A Pastoral Concert, 1516 pic.twitter.com/A2sojjgti8

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 27, 2019

#ArtSaturday Titian
The brilliant color scheme and the complex composition of The Assumption of the Virgin (1516-1518) for Venice’s Frari Church established Titian’s reputation as the prominent Venetian Renaissance painter. pic.twitter.com/HRonRnUfrx

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 27, 2019

#ArtSaturday Titian
After his Assumption of the Virgin, Titian’s patrons began competing for his work.

Flora, 1516-1520 pic.twitter.com/WLEd5iblsy

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 27, 2019

#ArtSaturday Titian
Though Titian continued painting religious paintings during this period, like The Madonna of the Rabbit (1525-30), where Mary is in a rather extensive landscape, he began painting more subjects from classical mythology. pic.twitter.com/VOZL0a9GVX

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 27, 2019

#ArtSaturday Titian
Titian’s Bacchus and Ariadne (1520-23) depicts the moment when the god Bacchus, who has fallen in love with Ariadne on sight, jumps from his cheetah-drawn chariot, startling her. pic.twitter.com/gkYUVGkTlQ

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 27, 2019

#ArtSaturday Titian
The wealthy Duke of Ferrara was one of Titian’s patrons during this time: the Duke commissioned Bacchus and Ariadne, as well as The Venus of Urbino (also, the Urbino Venus, 1534-36, to celebrate the Duke’s marriage) for his palace’s “alabaster room.” pic.twitter.com/JRfE2qe37t

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 27, 2019

#ArtSaturday Titian
Titian’s Venus and the Lute Player (also, Venus and the Organ Player, or Venus and the Lute Player and the Little Dog, 1550 ) is considered one of the series of “Reclining (nude) Venuses,” along with the Venus Urbino. pic.twitter.com/QbHo7QJfVD

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 27, 2019

#ArtSaturday Titian
By 1540, Titian had received a pension from King Charles V, which meant that Titian no longer had to accept commissions in order to live and continue working in painting.

Danaë (also, Danaë Receiving the Cup of Golden Rain, i.e., Zeus as “rain”), 1553 pic.twitter.com/NnpC3QtDRU

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 27, 2019

#ArtSaturday Titian
Titian was considered the equal of Renaissance artists Raphael and Michelangelo. Philip II of Spain, who married Mary Tudor of England, commissioned several paintings from Titian.

Philip II of Spain in Armor, 1550 pic.twitter.com/qS4Ep0VjnO

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 27, 2019

#ArtSaturday Titian
Venus and Adonis (1553) was commissioned by Philip II of Spain upon his marriage to Mary Tudor. When the painting arrived damaged, he complained, and Titian repaired it (lighter areas on Adonis’ back). pic.twitter.com/nPIyFcwk6y

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 27, 2019

#ArtSaturday Titian
Perseus and Andromeda (1554-56) was also commissioned by Philip II of Spain. pic.twitter.com/Iij1N5I2xX

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 27, 2019

#ArtSaturday Titian
Diana and Callisto, 1556-59, one of the paintings commissioned by Philip II of Spain. pic.twitter.com/4zpEAKtdOK

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 27, 2019

#ArtSaturday Titian
Diana and Actaeon, 1559, also commissioned by Philip II of Spain. pic.twitter.com/kcRfu20hja

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 27, 2019

#ArtSaturday Titian
The Death of Actaeon (1559) shows the rather gruesome and violent finale of the action in Titian’s Diana and Actaeon (1559) from classical mythology, the source of which was Ovid’s Metamorphoses, a collection of Greek myths retold around “metamorphoses.” pic.twitter.com/BPHGtSv4l7

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 27, 2019

#ArtSaturday Titian
The Rape of Europa, 1559-60, was considered quite startling for its “unbalanced” and strongly diagonal composition. pic.twitter.com/kNu73wCmHD

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 27, 2019

#ArtSaturday Titian
Titian’s last works became darker, with muddier palettes than those of his earlier and better known works.

Annunciation, 1559 pic.twitter.com/qOENb6MZFK

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 27, 2019

#ArtSaturday Titian
Pietà (1576) was Titian’s last painting, and it is one of his darkest palettes. pic.twitter.com/CnNOIOACJ0

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 27, 2019

#ArtSaturday Titian
In his later years, Titian became highly self-critical, sometimes keeping paintings for as long as 10 years, retouching them endlessly.

Self-Portrait, 1567 pic.twitter.com/HXrasUVgID

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 27, 2019

#ArtSaturday Titian
Titian died of a “fever” during an outbreak of Plague. As he left no will, and as his son, who was his only heir, also died of the Plague shortly afterward, his estate was complicated to settle.

The Monument of Titian (by Canova), in the Frari Church, Venice pic.twitter.com/1y6Tpy6wrQ

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 27, 2019