Titian Self-researched
Born: c. 1488, Pieve di Cadore Died: 1576, Venice Source: self-research
Tiziano Vecellio, known as Titian, was the most important artist of Renaissance Venetian painting. Buried in the Frari.
Artworks
Saint Mark Enthroned Self-researched
The altarpiece of the sacristy, originally painted for Santo Spirito in Isola. Saint Mark sits enthroned holding his gospel, flanked by Saints Cosmas and Damian (patron saints of physicians) on the left, and Saints Roch and Sebastian (saints invoked during plague) on the right. Thought to be Titian's first independent commission.
Sacred and Profane Love Self-researched
An early masterpiece probably commissioned to celebrate a wedding. The allegorical painting depicts a clothed woman and a nude woman (possibly representing earthly and divine love) seated at a sarcophagus fountain with Cupid.
Assumption of the Virgin Self-researched
Titian's most famous painting, commissioned for the Basilica and remaining in its original position on the high altar. The largest altarpiece in Venice, with figures well over life-size. The work established Titian as the most prominent painter of 16th century Venice. Also known as the Assunta.
Pesaro Madonna Self-researched
Located in the left nave, this revolutionary painting places the Madonna and Child dramatically off-center to the upper right rather than in the physical center. Commissioned by Bishop Jacopo Pesaro, this asymmetrical arrangement was highly innovative and influenced religious painting for generations.
The Presentation of the Virgin at the Temple Self-researched
A huge painting (335 x 775 cm) depicting the three-year-old Virgin Mary entering the Temple of Jerusalem. Commissioned for the Scuola della Carità and still in its original location, now incorporated into the museum.
La Bella Self-researched
A portrait of an unknown woman in a sumptuous blue dress, exemplifying the Renaissance ideal of female beauty. The sitter's identity is debated, though she may be the same model as Titian's Venus of Urbino. The work is documented in a 1536 letter from the Duke of Urbino describing "that portrait of that woman in a blue dress." It hangs in the Sala di Venere.
Portrait of a Young Englishman Self-researched
A striking portrait of an unidentified young man with intense grey-blue eyes, traditionally but uncertainly identified as an Englishman. The sitter may be Henry Howard, Ottavio Farnese, or the Italian Ippolito Riminaldi. The painting is admired for its penetrating psychological insight and Titian's virtuosic handling of the rich dark costume against the grey background.
David and Goliath Self-researched
One of three dramatic ceiling paintings, originally for Santo Spirito. Walter Friedlaender called these paintings "manifestations of genius unprecedented even in Titian's own work" for their impassioned power of movement and daring use of foreshortening. Highly influential on Baroque painting.
Cain and Abel Self-researched
Ceiling painting showing Cain killing his brother Abel. Part of Titian's Old Testament ceiling series, renowned for its powerful foreshortening and dynamic composition.
Abraham and Isaac Self-researched
Ceiling painting in the sacristy, part of the trio with David and Goliath and Cain and Abel. Depicts the moment of Abraham's sacrifice being stayed by an angel. Demonstrates Titian's mastery of dramatic perspective.
Portrait of Pietro Aretino Self-researched
A commanding portrait of the Renaissance poet and satirist Pietro Aretino, painted possibly for Cosimo I de' Medici. Titian renders his friend in richly textured robes with bold, almost impressionistic brushwork. Aretino famously complained that the finish was too sketchy, yet the vigorous technique is now admired as proto-modern. Displayed in the Sala di Venere.
The Pentecost Self-researched
A large painting in the nave depicting the descent of the Holy Spirit upon the apostles. One of several Titian works transferred to the Salute from suppressed churches.
Wisdom (La Sapienza) Self-researched
Titian's contribution to the first room ceiling of the library, depicting Wisdom as an allegorical figure. Titian also served as one of the judges who selected the other ceiling painters.
Pietà Self-researched
One of Titian's last paintings, left incomplete at his death in 1576 and finished by Palma Giovane. Titian intended it for his own grave. A profoundly moving late work demonstrating the artist's loose, expressive brushwork in his final years.
