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Raphael and Workshop Titian

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Tiziano Vecellio was born at Pieve di Cadore in the Alps north of Venice around 1490 A. D. He became known in english as Titian. At the age of ten Titian’s father sent him and his brother Francesco to Venice where they were to study painting at Sebastiano Zuccato’s workshop. After a short time at Sebastiano Zuccato’s workshop Titian decided to leave, while his brother stayed at the workshop to study painting. After leaving the workshop Titian went on to become an apprentice of Gentile and Giovanni Bellini to further his study of painting.

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While in his apprenticeship with Gentile and Giovanni he met Giorgione who had trained with Giovanni and was able to help Titian get his first certain work, where he painted the frescoes on the exterior of German Merchants Exchange from 1507-1508. Titian’s first major independent commission came in 1510 with Giorgione when he was asked to paint three frescos in Scuola del Santo of the Confraternity of Saint Anthony in Padua.

The first of these painting are believed to be started by Giorgione who died not too long after the start of the paintings in 1510.

However it is unsure as to if Giorgione actually started the painting due to the style of the two painters are so similar. Since Giorgione and Titian were both trained by Giovanni they both made use of the beauty of color and detached reflective mood later characterized as giorgionesque, hence why it is hard to tell the difference between Giorgione’s work and Titian’s early work. In 1516 Titian was commissioned to start the work on his most famous early masterpiece which was an altarpiece called Assumption of the Virgin at the Church of Santa Maria Gloriosa dei Frari in Venice.

This painting depicted the Virgin soaring with her arms outstretched to heaven. After the completion of the Assumption of the Virgin in 1518 Titian became know as a portraitist from his various profane subjects. From the popularity of his early paintings in Venice that had contrasts of clothed and nude figures of the goddess Venus and other art works such as Madonna of the Cherries, Presentation of the Virgin, and Christ Crowned With Thorns, caused the word of his work to spread throughout europe.

In 1515 Titian painted Flora, Sacred and Profane Love, and Christ and the Tribute Money this started his second style of painting. In 1518 Alfonso d’Este commissioned Titian to paint three canvases for the castle of Alfonso d’Este in Ferrara. Titian used the literary works Catullus’ Carmina, Philostratus’s Imagines, and Ovid’s Fastii and Ars amatoria as inspiration for these three paintings. In the paintings, which were titled the Adrians, the Worship of Venus and Bacchus and Ariadne, Titian revived classical legends, creating works of unmatched beauty of color and design while also establishing new ideas of physical beauty.

In the 1520s Titian created the masterpiece paintings: the Madonna and Child with Saints Francis and Aloysuis, the Resurrection altar and the Pesaro Madonna. The Pesaro Madonna with its diagonal compostion and background of a great portice with large columns, and the radiance of light, color and atmosphere established a new design for Venetian altars which continued for many years. During this period Titian also created the grim painting Entombment. The Martyrdom of St.

Peter Martyr, which was destroyed in a fire in 1867, was once considered Titian’s greatest work of art because it’s depictions brought about a new feeling for heroic and dramatic action. In 1527 Jacopo Sansovino and Sebastiano del Piombo came to Venice after Rome was sacked. The men shared with Titian their knowledge of artistic developments in Rome. In the early 1520s Titian also began a relationship with a woman from Cadone named Cecilia. Cecilia bore Titian two sons Pomponio in 1524 and Orazio in 1525. In 1525 Cecilia became severely ill and Titian married her. She then bore Titian two daughters, only one survived, they called her Lavinia.

Cecilia died of her illness in 1530. After his wife’s passing Titian rented a lavish palace, known as the Casa Grande, where he remained until his death in 1576. Another event of great significance in Titian’s life was attending the coronation of Charles V as Holy Emperor on February 24,1530 in Bologna. While there Titian painted his first portrait of Charles V in his armor. However the earliest surviving portrait of Charles V was from Titian’s second trip to Bologna in February 1533, titled Charles V and the Hound. Charles V showed his appreciation of Titian by making him a knight of the Golden Spur and Count Palatine.

In the same time period, between 1525 and 1540, Titian was also able to provide many other works of art to his royal customers. In addition to supplying the large processional piece the Presentation of the Virgin in Venice, his works included the Madonna with the Rabbit and eleven portraits of various Roman emperors for the Gonzagas and the Madonna and Child with St. Catherine for Ferrara. Between 1538 and 1539 Titian completed the portraits Duke Francesco Maria I della Rovere and Duchess Eleanora and Venus of Urbino for the Duke of Urbino.

During the next decade Titian’s style changed drastically. His work Christ before Pilate. which he painted in 1543, showed a new level of design denoted by the change in his characters gestures and poses which were more drama saturated then his earlier works. Another important event in Titian’s life during this decade was when Titian was invited to Rome for the first time by Pope Paul III. Titian stayed in Rome between the September 1545 and June 1546. During his stay the artist was introduced to the masterpieces of Michelangelo and Raphael, which impacted Titian’s future paintings.

Titian produced his own masterpieces as well during his sojourn including the official state portrait Paul III without Berretta and Paul III with His Grandsons, which depicted a dramatic concurrence between the aging Pope and his grandsons. After returning to Venice, Titian completed the work Christ Crowned with Thorns in 1550. This painting reflected the muscular physique of characters that was reminiscent of Michelangelo’s work that Titian had seen in Rome. In January of 1548 Titian was summoned to Augsburg by Charles V.

While in Augsburg Titian painted the portrait Charles V at Mulhberg, in celebrating of victory over German Protestants. Titian returned to Venice eight months later in October 1548 but was then called back to Augsburg by Charles V two years later in October 1550. One of the most important portraits Titian painted while in Augsburg with the Emperor’s court was that of Prince Philip in armor. The painting went on to set the standard for state portraits. During the early 1550s Titian also painted three devotional panels for Charles V: two of the Mater Dolorosa and the Trinity also known as La Gloria.

In the late 1550s Prince Philip commissioned religious paintings for the monastery of the Escorial. The three paintings included Crucifixion, Entombment and the Adoration of the Kings. In the 1560s Prince Philip commissioned many more paintings from Titian for the Escorial monastery including: the two different versions of Agony in the Garden, two of Christ Carrying the Cross, and The Last Supper. During the same time period Titian also completed the masterpieces Diana and Callisto, Diana and Actaeon, Perseus and Andromeda and the Rape of Europa.

During the end of his career Titian’s style was noticeably different from when he was younger. His brushwork was more free and his color tones fused and blended with his fingers instead of the brush. This style can be viewed in the paintings of saints: the St. Margaret, St. Sebastian, the Magdalen and St. Jerome as well as in the aforementioned paintings which were commissioned by Prince Philip. Titian’s last works included masterpieces like Jacopo Strada completed in 1568, his self portrait in 1570 and a portrait of himself Orazio and Marco in 1570.

Titian also continued to create religious paintings and different versions of his already well known works as well including Annunciation and Christ Crowned with Thorns. Titian died on August 27, 1576 at his palace Case Grande in Venice and was interred in the church of St. Maria Gloriosa dei Frari. Titian’s last work Pieta was left unfinished at the time of his death and was meant for his own chapel.

BIBLIOGRAPHY

1. “”Titian. ” Encyclopedia of World Biography. 2004. Encyclopedia. com. (October 22, 2012). http://www. encyclopedia. om/doc/1G2-3404706410. html 2. ”Titian. ” The Columbia Encyclopedia, 6th ed.. 2012. Encyclopedia. com. (October 22, 2012). http://www. encyclopedia. com/doc/1E1-Titian. html 3. “Titian (1490–1576). ” The Renaissance. 2008. Encyclopedia. com. (October 22, 2012). http://www. encyclopedia. com/doc/1G2-3205500300. html 4. ”Titian biography (1488-1576)” totallyhistory. com (October 22, 2012) http://totallyhistory. com/titian/ 5. ”Titian” The National Gallery, Trafalgar Square, London (October 22, 2012) http://www. nationalgallery. org. uk/artists/titian

Cite this Raphael and Workshop Titian

Raphael and Workshop Titian. (2017, Jan 10). Retrieved from https://graduateway.com/raphael-and-workshop-titian/

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