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Titian

Italian Painter

Movements and Styles: High Renaissance, Mannerism

Born: Between 1488-1490 - Pieve di Cadore, Italy

Died: August 27, 1576 - Venice, Italy

Titian Timeline

Quotes

"He who improvises can never make a perfect line of poetry"
Titian
"The painter must always seek the essence of things, always represent the essential characteristics and emotions of the person he is painting"
Titian
"Painting done under pressure by artists without the necessary talent can only give rise to formlessness, as painting is a profession that requires peace of mind"
Titian
"Titian is like a page out of Shakespeare"
Paul Cézanne
"Titian, here is a man made to be appreciated by those who grow old [...]. The qualities of the painter are brought to him at the highest point: what he does is done: the eyes look and are animated by the fire of life. Life and reason are everywhere"
Eugène Delacroix
"It is spontaneous to think: at the foundation of this vision there must be something sacred, handed down from ancient times, so that they could be united in a single group, with so much art so much strength of meaning, so different and heterogeneous characters. We do not ask how or why, only we see the fact that we admire the excellence of art."
Wolfgang von Goethe

"A good painter needs only three colors: black, white and red"

Biography

Childhood

Tiziano Vecellio, known as Titian, was born in Pieve di Cadore, a small village in the Alps, the son of Gregorio Vecellio, a wealthy councillor and captain of the Venetian militia in the region. The exact date of his birth is uncertain, however, modern scholars usually set it between 1488 and 1490 on the basis of Ludovico Dolce's Dialogue of Painting, which states that, at the time of the lost frescoes at the Fondaco dei Tedeschi, Titian was not yet 20 years old. At around the age of ten, he moved to Venice with his elder brother Francesco to take an apprenticeship as a artist. He initially studied mosaic at Sebastiano Zuccato's workshop and was later apprenticed to Gentile Bellini. After Gentile's death, Titian went to work for his brother Giovanni Bellini, one of the most important painters in Venice at the time. Here he met Giorgione, a previous apprentice of Bellini's, who helped Titian develop his early style.

Early Years

<i>Christ Carrying the Cross</i> (1508-09) at the Scuola Grande di San Rocco, Venice
Christ Carrying the Cross (1508-09) at the Scuola Grande di San Rocco, Venice

Around 1508 Titian collaborated with Giorgione on the external decoration of the Fondaco dei Tedeschi (the state-warehouse for the German merchants). The relationship between the two masters is still much debated by art historians, with some suggesting an open rivalry and others a close friendship between them. What is certain is that distinguishing between their works in this period is still controversial. For example, the famous, Christ Carrying the Cross (1508-09), hosted in the Scuola Grande di San Rocco, long believed to be Giorgione's work, has recently been attributed to Titian. Although Titian moved away from Giorgione's style in terms of color palette and lighting effects, his influence continues to be apparent in Titian's work for some years.

In Titian's <i>Woman with a Mirror</i> (c.1515) the inclusion of the mirrors and the <i>trompe l'oeil</i> shelf at the bottom of the image owe a debt to Giorgione.
In Titian's Woman with a Mirror (c.1515) the inclusion of the mirrors and the trompe l'oeil shelf at the bottom of the image owe a debt to Giorgione.

In 1510 Titian launched his independent career in Venice and the following year he travelled to Padua to paint frescoes in the Scuola of St. Anthony. Upon returning, the artist set up an atelier on the Grand Canal, at S. Samuele, administered by his brother Francesco. In 1516, after the death of Bellini, Titian was appointed as the official painter of the Republic of Venice. This appointment was crucial for his artistic career: he enjoyed an annual fee of a hundred ducats and a healthy tax exemption. He held this office for almost 60 years investing his earnings in the lumber trade of his native Cadore, a very important business for the naval industry of the Republic (it is said that Titian became the richest artist that ever lived at the time). In the same year, he completed the Assumption of the Virgin, for the Basilica di Santa Maria Gloriosa dei Frari, a painting that created a huge sensation for its majestic scale and innovative use of color. During this period he also produced several half-length paintings and busts of young women, these included Flora (c. 1515) and Woman with a Mirror (c.1515) as well as a series of small Madonnas for a number of wealthy patrons.

Mature Period

In 1525 Titian married Cecilia Soldani, a woman with whom he already had two sons, Pompeo and Orazio (who later became Titian's assistant), but she died in 1530. Later Titian remarried but little is known of his second wife. Although already well-regarded, Titian's popularity continued to increase, royalty and nobles in Italy and beyond began to seek out his work and he became the principal painter to the Imperial Court. He was also appointed the official painter of King Philip II of Spain and his work was commissioned and bought all over Europe by those wealthy enough to afford it. Towards the end of the 1520s, Titian met Jacopo Sansovino and Pietro Aretino, artists who introduced him to what came to be know as Mannerism and the style began to appear in his paintings from this period onwards. In 1532, shortly after painting a portrait of the emperor Charles V in Bologna, the artist was made a Count Palatine. During this period, Titian began to paint depictions of a reclining Venus and he continued to experiment with this subject matter for the next two decades, examples include The Venus of Urbino (c.1534), Venus and Love (1550), and Venus with an Organist and a Dog (1550).

In the 1540s Titian produced some of his most famous portraits including Portrait of Pietro Aretino (1545), Portrait of Pope Paul III (1543), and Equestrian Portrait of Charles V (1548) and this latter painting established a new genre of grand equestrian portraits. In 1546 he travelled to Rome where he was given the freedom of the city and where he met Michelangelo. From the early 1550s Titian worked regularly with Philip II, producing a series of pictures with mythological themes which he referred to as 'poesie'.

Late Period

Titian's <i>Self-portrait</i> (c. 1560-62) (Detail) at the Gemäldegalerie, Berlin
Titian's Self-portrait (c. 1560-62) (Detail) at the Gemäldegalerie, Berlin

From the late-1550s the artist developed a less realistic approach to representation and used wide, loose brushstrokes in his work and his pieces became increasingly abstract throughout the last years of his life. Titian died of the plague on 27 August 1576, shortly before his son Orazio succumbed to the same disease.

Legacy

Titian inspired a number of his contemporaries with his Mannerist style, particularly those who formed part of his workshop including Paris Bordone, Bonifazio Veronese, and Polidoro da Lanciano as well as his nephew Marco Vecellio. It has also been suggested that he employed El Greco in his later years influencing his famously vibrant use of color. In 1590 the art theorist Giovanni Lomazzo called Titian, "the sun amidst small stars not only among the Italians but all the painters of the world" and masters such as Rubens, Rembrandt, and Tintoretto show a debt to Titian in terms of composition, color and use of looser brushstrokes. This influence extended well into the seventeenth century with Marco Boschini writing in 1674, nearly a hundred years after Titian's death, that: "Titian truly was the most excellent of those who painted: because his brushes always gave birth to expressions of life".

Titian's <i>Self-Portrait</i> (c. 1567) at the Museo del Prado, Madrid
Titian's Self-Portrait (c. 1567) at the Museo del Prado, Madrid

Artists returned to Titian in the eighteenth and nineteenth centuries. Sir Joshua Reynolds was so fascinated by his work that he scraped away layers of paint on a canvas that he owned to discover Titian's processes and techniques and both the Neoclassicist, Jean Auguste Dominique Ingres and French Impressionists including Manet drew inspiration from the artist's later, freer canvases. As Eugène Delacroix wrote: "Titian is one of those who are closer to the ingenuity of the ancient [...]. Those who in Titian do not see that the greatest of colorists are in great error: it is indeed, but at the same time is the first of the designers".

Most Important Art

Titian Famous Art

Amor Sacro and Amor Profano (c. 1515)

Set in a bucolic landscape, two women, apparently drawn from the same model are posed by a water trough, while its water is stirred by a winged Eros (or possibly a putto). The painting is rich in symbolism and iconography although there is a lack of consensus amongst critics about its meaning and even the title of the painting may not be original as it was not recorded until 1693. The composition of the picture contains elements found in the work of Giorgione whose style had a significant influence on Titian at the beginning of his career.

The woman to the left is dressed in wedding attire and may represent carnal love and beauty. In contrast the nude is usually read as spiritual love, a symbol of simplicity and purity. The position of Eros, at the center of the two, therefore, may indicate the point of mediation between spiritual and carnal desires.

The coat of arms on the trough belongs to the family of Niccolò Aurelio, who later became Grand Chancellor of Venice. In May of 1514 he married Laura Bagarotto, daughter of the jurist Bertuccio Bagarotto who had been executed some months before the wedding on charges of betraying the Serenissima Republic. It is probable that the painting was commissioned to celebrate the marriage. It has been suggested that the relief design on the front of the trough symbolizes life and death, inviting the newly wed Laura, to overcome the sorrow for the loss of her father and flourish in marital love, both spiritual and physical. Alternative readings for this design include symbolism for the taming of passions or hidden literary references.
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Cite this page

Content compiled and written by Pamela Breda

Edited and revised, with Synopsis and Key Ideas added by Kate Stephenson

" Artist Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by Pamela Breda
Edited and revised, with Synopsis and Key Ideas added by Kate Stephenson
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