By Vecellio, Tiziano; Nichols, Tom
Titian is better identified for work that embodied the culture of the Venetian Renaissance—but how Venetian was once the artist himself? during this entire new research, Tom Nichols probes the tensions among the individualism of Titian’s paintings and the conservative cultural and political mores of the town, revealing his paintings to be unique innovations that undermine the conventional self-suppressing method of portray in Venice. really, Nichols argues, Titian’s works mirrored his engagement with the individualistic cultures rising within the courts of early glossy Europe.
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Additional info for Titian and end of Venetian Renaissance
Sample text
But Titian’s surfaces are never static, and in this case formal dynamism is equally important to the visual effect and is supplied by the directional indications of the quilting that pulls the eye across the surface and around the sitter’s form. The painting of the sleeve offsets the sitter’s foreshortened position, with the head turned outwards against the direction of the body. This arrangement was a sharp departure from all earlier Venetian models, freeing the sitter from the traditional unidirectional alignment of head and shoulders to suggest a more mobile posture (illus.
In the 1510s Titian continued to exploit the expressive overlaps between portraiture and other genres of painting that Giorgione had suggested. In response to Giorgione’s example, the historical protagonists in Titian’s Padua frescos are given a measure of individuation more familiar to portraits. The women to the right of the Miracle of the Speaking Babe (illus. 66 Static portrait groups had often been included in Venetian istoria but were typically isolated from the narrative action in the manner of donor imagery, standing passively by as if to confirm the validity of the given history from a contemporary perspective (illus.
There is, accordingly, a new emphasis on enlarged groups of nude or halfdressed figures shown in vigorous interlocking movement and placed close to the picture surface. 95 The generic association with antique relief sculpture is evident enough from the dispersal of the dynamic figures across the plane of the picture, though the young painter’s precocious awareness of the paragone is once again in play. The rich colouration of the two works suggests in itself an assertion of the inherent superiority of painting over sculpture, while the inclusion of a Bacchic snake charmer, modelled on the recently discovered Laocoön in Bacchus and Ariadne may reflect a more specific attempt to outdo the sculptor Antonio Lombardo, who had included a similar quotation in one of his marble reliefs placed in the Camerino d’Alabastro (illus.