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Titian to 1518
The work that Titian produced during the first decade of his career is beautiful and varied, but it has raised many questions of attribution and chronology. This book - the first thorough and coherent account of this period in Titian's life - reconstructs what he painted, when he painted it and what these paintings mean. Paul Joannides begins by discussing the probable course of Titian's early career and his relationship to the Bellinis. There are individual excurses on Giorgione and on Sebastiano del Piombo whose work has often been confused with his. Joannides then offers new interpretations of some of Titian's paintings, emphasising their poetic and dramatic qualities. Among other topics, he associates for the first time the paintings in Saint Petersburg, Venice and Houston; lays out Titian's part of the Fondaco; connects the privately owned Resurrected Christ with the Fogg Circumcision; integrates the Dresden Venus and the Berlin Portrait into Titian's work; and establishes the dynamism and inventiveness of the great Assunta of 1516-18. Joannides provides detailed arguments in support of both new and familiar attributions, proposes a more closely reasoned and precise chronology
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Joanna Woods-Marsden, Preface David Rosand, Introduction: The Old Man's Brush Materiality / Facture Jodi Cranston, Theorizing Materiality: Titian's Flaying of Marsyas; Daniela Bohde, Corporeality and Materiality: Light, Colour and the Body in Titian's San Salvatore Annunciation and Naples Danae; Miguel Falomir, Titian's Tityus; Paul Joannides, Titian's Repetitions Likeness Joanna Woods-Marsden, The Mistress as 'Virtuous': Titian's Portrait of Laura Dianti; Jaynie Anderson, Titian's Franciscan Friar in Melbourne: A Portrait of the Confessor to Aretino and Titian? Istoria Luba Freedman, The Vainly Imploring Goddess in Titian's Venus and Adonis; Patricia Meilman, Historical Tradition and Political Strategy: Titian's Battle Painting CODA Una Roman D'Elia, Titian's Mute Poetry; Mary Rogers, Man and Beast in Titian Plates Professor Joanna Woods-Marsden was educated at Trinity College, Dublin, the University of London, and Harvard University. An expert in Italian Renaissance art, she has recently specialized in portraiture.
Titian
Titian is best known for paintings that embodied the tradition of the Venetian Renaissance—but how Venetian was the artist himself? In this study, Tom Nichols probes the tensions between the individualism of Titian’s work and the conservative mores of the city, showing how his art undermined the traditional self-suppressing approach to painting in Venice and reflected his engagement with the individualistic cultures emerging in the courts of early modern Europe. Ranging widely across Titian’s long career and varied works, Titian and the End of the Venetian Renaissance outlines his radical innovations to the traditional Venetian altarpiece; his transformation of portraits into artistic creations; and his meteoric breakout from the confines of artistic culture in Venice. Nichols explores how Titian challenged the city’s communal values with his competitive professional identity, contending that his intensely personalized way of painting resulted in a departure that effectively brought an end to the Renaissance tradition of painting. Packed with 170 illustrations, this groundbreaking book will change the way people look at Titian and Venetian art history.
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The Classic Art Series Abrams is proud to announce a major event in art history.The Classic Art Seriesoffers a comprehensive approach to publishing the Old Masters. Commissioned from important scholars, these books reproduce every known work by their subjects in large-format color illustrations, along with a general biographical and critical essay, commentaries, and extensive documentation, including a list of collections and extensive bibliography. Printed on the very finest paper using the most sophisticated technology available today, they are intended to be both beautiful art books and lasting contributions to knowledge. The Flemish artist Pieter Bruegel the Elder (1525–1569) is considered to be the first Western landscape and genre painter. He has been especially beloved through the centuries for his paintings of peasant scenes. Along with an essay by Manfred Sellink, this book reprints the first biography of Bruegel, in facsimile and translation, written by Karel van Mander around 1604. The annotated catalogue includes all forty paintings and seventy drawings attributed to Bruegel in color, with numerous details, as well as his seventy-five prints.
Late Titian and the Sensuality of Painting
In the mid-sixteenth century, at almost 60 years of age, Titian invented a new way of painting: the paint was applied to the canvas rapidly and freely and overlaid with brushstrokes that were both light and dense: the forms broke up and a great sensuality and profound spirituality became evident. Titian used an extraordinarily prescient technique to create engaging, stirring painting that in some ways seems to relate to the literary work of the poet Torquato Tasso and even take up the imaginary writings of Ludovico Ariosto published in Venice in the 1530s. Such a painting style had never previously been imagined and was so revolutionary that it was to influence many artists of subsequent centuries through to the modern age. Late Titian became the yardstick not only for younger contemporary painters like Tintoretto, Veronese and Bassano, but also great artists of subseqent cewnturies like Rubens, Rembandt, Velazquez, Gericault and Delacroix and on to the Expressionists.
Titian
Tiziano Vecellio, or Titian, the Italian painter, draughtsman and printmaker, was not only immensely successful in his lifetime but since his death has always been considered the greatest painter of the Venetian school. Equally pre-eminent in all the branches of painting practised in the 16th century - from religious subjects and portraits to allegories, scenes from Classical mythology, and history - his work illuminates more clearly than that of any other painter the fundamental transition from the 15th- to 16th-century traditions. This fully illustrated Grove Art Essentials title follows Titian's life from his early training through his many commissions for royal and noble patrons and details the artist's formative influence on the major European painters of the 17th century, later critical reception, and posthumous reputation.
Titian and His World
At the dawn of the sixteenth century, the republic of Venice reigned as one of the most powerful city-states of Europe. The pre-eminent artist during this period was Tiziano Vecellio, called Titian. Titian's older and younger contemporaries included painters of the stature of Bellini, Giorgione, Bassano, Tintoretto and Veronese. This book examines twenty of the most important paintings by these artists included. Titian and his World also traces the development of Venetian painting from 1460 to 1615 and provides the background to the opulence and sensuousness of Venetian painting. AUTHOR: Peter Humfrey is Professor of Art History at the University of St Andrews and a widely recognised authority on Venetian Renaissance art. SELLING POINTS: An introduction to some of the greatest artists of the Venetian Renaissance Extravagant colour reproductions of the major late Renaissance paintings 30 colour illustrations
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During Titian's career, which spanned more than seventy years, he painted around five or six hundred pictures of which less than half survive. His work has been studied by generations of great artists from Rubens to Manet and he is often seen as having artistically transcended his own time. Sheila Hale not only examines his life, both personal and professional, but how his art affected his contemporaries and how it influences artists today. She also examines Venice in its context of a city at the time of the Renaissance, over shadowed artistically by Rome and Florence and growing into the famous historical city it has become.
