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The outstanding painter of his era, Titian
redefined painting and developed a style that not only determined
the direction of Venetian painting for the next two centuries
but profoundly influenced the work of geniuses distant in time
and place, such as Rubens, Velázquez, and Rembrandt. A consummate
colorist, Titian exploited the oil medium relatively recently
introduced to Italy—to create effects that were quite unlike
the clear, linear images of previous Florentine and Venetian painting.
Modulating color and shadow through use of an unprecedented number
of layered glazes, Titian created forms that are soft and glowing.
His preference for diagonal emphasis in composition further broke
with the classical conventions of Renaissance art and added dynamism
to his canvases that presaged the complexities of Baroque painting.
The painter Titian is so famous in English-speaking countries,
and has always been so. So much so that we may forget that this
is not in fact his name, and that it is merely an anglicised version
of Tiziano.
Titian
(National Gallery London Publications) by Charles Hope, Jennifer
Fletcher, Jill Dunkerton – Hardcover: 192 pages Publisher:
National Gallery London (March 11, 2003)
Few individuals have had a greater influence on the development
of Western painting than the celebrated sixteenth-century Venetian
artist Titian (c. 1480–1576). His vibrant colors and masterful
brushwork have made his work a constant inspiration to artists,
from Rubens to the Impressionists and beyond. Every generation
has found something new to admire in his astonishing technique,
which enabled him to produce fresh interpretations of the most
familiar religious and mythological stories as well as portraits
and landscapes. Written by some of the world’s most renowned
Titian scholars, this beautifully illustrated book accompanies
a major exhibition devoted to the work of this extraordinary
artist. Authoritative essays on Titian’s life and times,
portraits, replicas, and technique provide the background for
a detailed examination of over 40 of his greatest masterpieces—works
that provide evidence of Titian’s genius as a stylistic
innovator and supreme manipulator of paint.
Titian
and Rubens: Power, Politics, and Style by Hilliard T.
Goldfarb, David Freedberg, Manuela B. Mena Marques – Paperback,
128 pages (February 1998) University Press of New England
Reader review: This book is an elegant and engaging introduction
to Titian; it is full of fascinating information and observations
not only about Titian but about his times. Cole's explanations
of Titian's great works are lucid, sensible, and accessible
to general readers and scholars alike. Definitely worth a close
look. It is beautifully printed with luscious reproductions.
Those in color are reproduced with great fidelity.
Titian's Women by Rona Goffen – Hardcover, 400
pages, Published by Yale Univ Press, 1997
Well-known Renaissance scholar Rona Goffen examines the painter
Titian's enduring fascination with the theme of beautiful woman.
Goffen offers a new interpretation of the artist's paintings
of women in the context of life in 16th-century Venice. Without
denying the erotic appeal of Titian's women, Goffen goes beyond
sexual suggestion to show the larger themes that women symbolized
for the artist. 60 color and 117 b&w illustrations
Titian
by Stefano Zuffi – Paperback (March 1996) Art Books Intl
Ltd
The
Life of Titian by Carlo Ridolfi (Editor), Julia Conaway
Bondanella (Editor), Peter Bondanella (Editor), Bruce Cole (Editor),
Jody Robin Shiffman (Editor) – Paperback: 160 pages Publisher:
Pennsylvania State University Press; New Ed edition (November
1996)
Card catalog description: The Life of Titian by the seventeenth-century
Venetian artist and writer Carlo Ridolfi is one of the most
important contemporary documentary sources for our understanding
of the great Renaissance artist. This new critical edition,
the first translation into English of Ridolfi's biography, illuminates
his life, his artistic production, and his early critical reputation.
The editors address art-historical questions of attribution,
provenance, and documentation that Ridolfi's biography raises.
Two introductory essays present the nature, scope, and importance
of the biography for the study of Titian and Venetian Renaissance
art and place Ridolfi in the tradition of Renaissance biography
and artistic literature. The annotations provide a useful and
current bibliography drawn from both art history and literature.
The Life of Titian will be of interest to a wide audience of
scholars and students of the history of Renaissance art, literature,
language, and culture.
In the quarter century since the last catalogue raisonné
of Titian, more research has been carried out on the painter
than in the whole of the previous four hundred years. New documentation
has come to light, pictures have been cleaned and major exhibitions
have allowed for scrupulous comparisons to be made. As a result,
Titian's whole oeuvre has been reassessed, many old questions
of attribution settled—and a few new ones raised.
Titian's place as one of the giants of Western culture has never
been in doubt. He represents the culmination of the Venetian
school, evolving a technique of free, spontaneous brushwork
and a rendering of form through color that amazed his contemporaries
and is now seen by some as foreshadowing Impressionism. In a
long life of nearly ninety years he painted hundreds of canvases,
ranging from moving and intense religious images, through penetratingly
psychological portraits (including Charles V and Philip II of
Spain) to sensuously erotic mythological scenes like Bacchus
and Ariadne and the Venus of Urbino. Over 250 paintings are
now attributed to him. All are illustrated here with detailed
commentaries giving the circumstances of their commission, their
subsequent history and stylistic analysis. Also included is
an exhaustive bibliography. The fruit of many years' research,
Titian is a monument of scholarship that will remain definitive
for the foreseeable future.
Titian's work has been admired and analyzed in countless studies
over the centuries, from the classic study by Vasari to Filippo
Pedrocco's recent, well-received catalogue raison . But most
scholars minimize the seemingly impenetrable forest of Titian's
early work. Joannides (art history, Cambridge), the first to
present an entire book devoted to Titian's youthful oeuvre,
tries to identify the trees. His main purpose is to establish
that the themes developed early in Titian's career were carried
out in his later works. Using the latest research and attributions,
the author rearranges the usual assigned chronology of Titian's
paintings and weaves a thread through his relationship with
Giorgione, the Bellinis, and del Piombo. Titian was competitive
with Michelangelo's compositions and Raphael's portraiture in
the development of figure painting. Ultimately, the author is
convincing, making constant reference and cross reference and
moving from visual link to visual link in the paintings. The
book has a unique feature, a historiographical table that documents
the attribution of Titian paintings by prominent scholars, as
well as 146 color and 126 black-and-white illustrations. This
densely written and fully realized scholarship is suited for
connoisseurs of Renaissance painting as well as academics, curators,
and artists. It should be considered for acquisition by large
public, museum, and academic libraries. Ellen Bates, New York
City —Copyright 2002 Reed Business Information, Inc.
Titian, master painter of the Venetian Renaissance school, had
an incalculable influence on the course of European art. As
this program shows, he was also a master of self-promotion and
could be ruthless in his pursuit of wealth and prestige. Taking
us to Venice, Rome, Madrid, and Vienna to view Titian's work,
this program recounts the drama of his life and reveals the
magnificence of his talent.
Late in his life Titian created a series of paintings—the
“Four Sinners,” the “poesie” for his patron
Philip II of Spain, and the “Final Tragedies”—that
were dark in tone and content, full of pathos and physical suffering.
In this major reinterpretation of Titian’s art, Thomas
Puttfarken shows that the often dramatic and violent subject
matter of these works was not, as is often argued, the consequence
of the artist’s increasing age and sense of isolation and
tragedy. Rather, these paintings were influenced by discussions
of Aristotle’s Poetics that permeated learned discourse
in Italy in the mid-sixteenth century. The Poetics led directly
to a rich theory of the visual arts, and painting in particular,
that enabled artists like Titian to consider themselves on equal
footing with poets. Puttfarken investigates Titian’s late
works in this context and analyzes his relations with his patrons,
his intellectual and humanistic contacts, and his choices of
subject matter, style, and technique.
“Who would have thought that the serene masterpieces of
the High Renaissance owed so much of their vitality to backstage
brawling? Only Rona Goffen knows enough to trace these labyrinthine
rivalries. In her book the artists take on cinematic vitality,
making us see the artifacts produced by such creative brawlers
in entirely new ways. They are knockouts. So is her book.”—Garry
Wills
"This lively and appealing book is an important achievement.
. . . Magnificently researched and handsomely produced, Renaissance
Rivals advances the discussion of a central aspect of early
modern culture. In doing so, it has no rivals."—Werner
Gundersheimer, American Scholar
Titian
by Filippo Pedrocco – Hardcover: 328 pages Publisher: Rizzoli
International Publications (March 7, 2001)
In the quarter century since the last catalogue
raisonné of Titian, more research has
been carried out on the painter than in the
whole of the previous four hundred years. New
documentation has come to light, pictures have
been cleaned and major exhibitions have allowed
for scrupulous comparisons to be made. As a
result, Titian's whole oeuvre has been reassessed,
many old questions of attribution settled--
and a few new ones raised.
Titian's place as one of the giants of Western
culture has never been in doubt. He represents
the culmination of the Venetian school, evolving
a technique of free, spontaneous brushwork and
a rendering of form through color that amazed
his contemporaries and is now seen by some as
foreshadowing Impressionism. In a long life
of nearly ninety years he painted hundreds of
canvases, ranging from moving and intense religious
images, through penetratingly psychological
portraits (including Charles V and Philip II
of Spain) to sensuously erotic mythological
scenes like Bacchus and Ariadne and the Venus
of Urbino. Over 250 paintings are now attributed
to him. All are illustrated here with detailed
commentaries giving the circumstances of their
commission, their subsequent history and stylistic
analysis. Also included is an exhaustive bibliography.
The fruit of many years' research, Titian is
a monument of scholarship that will remain definitive
for the foreseeable future.
Titian: Nymph and Shepherd by Katya
Berger Andreadakis, John Berger – Hardcover,
120 pages (August 1996) International Book Import
Service, Inc.
The Publisher: A quintessential
work of the High Renaissance in Venice, Titian's
Venus of Urbino also represents one of the major
themes of Western art: the female nude. But
how did Titian intend this work to be received?
Is she Venus, as the popular title—a modern
invention—implies, or is she merely a courtesan?
This book tackles this and other questions in
six essays by European and American art historians.
Examining the work within the context of Renaissance
art theory, as well as the psychology and society
of sixteenth-century Italy, and even in relation
to Manet's nineteenth-century "translation"
of the work, their observations begin and end
with the painting itself and with appreciation
of Titian's great achievement in creating this
archetypal image of feminine beauty.
Titian: Prince of Painters by Titian,
Susanna Biadene, Mary Yakush – Hardcover,
452 pages, Published by International Book Import
Service, Inc., 1990
This excellent catalog of the 1990-1991 exhibition
in Venice and Washington is a work of permanent
value. Featuring essays by 16 authorities, primarily
Italian and American, on every aspect of the
art of Titian (Tiziano Vecelli, c. 1490-1576),
the quintessential Venetian artist of the high
Renaissance, the work transcends the limits
of spatial and temporal exhibition to summarize
and extend current scholarship. At the same
time, the text is accessible, well translated,
and aimed at a broad audience. Many of the works
in the exhibit were conserved or cleaned, so
the book features fresh illustrations and a
hefty amount of technical discussion of specialist
interest. A distinguished addition to the vast
bibliography, recommended for all art collections.
—Jack Perry Brown, Ryer son & Burnham
Libs., Art Inst. of Chicago Copyright 1991 Reed
Business Information, Inc.
Among sixteenth-century Renaissance painters,
Titian made his reputation, and much of his
living, by portraiture. Titian's portraits were
promoted by his friend, Pietro Aretino, an eminent
poet and critic, who addressed his letters and
sonnets to the same personages Titian portrayed.
In many of these letters (which often included
sonnets), Aretino described both an individual
patron and Titian's portrait of that patron,
thus stimulating the reciprocal relation between
a verbal and pictorial portrait. By investigating
this unprecedented historical phenomenon, Luba
Freedman elucidates the meaning conveyed by
the portrait as an artistic form in Renaissance
Italy.
Fusing iconographical analysis of the most famous
Titian portraits with rhetorical analysis of
Aretino's literary legacy as compared to contemporary
reactions, Freedman demonstrates that it is
due to Titian's many portraits and to Aretino's
repeated simultaneous writings about them that
the portrait ceased being primarily a social-historical
document, preserving the sitter's likeness for
posterity. It gradually became, as it is today,
a work of art, the artist's invention, which
gives its viewer an aesthetic pleasure.
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Titian
Titian
and Rubens: Power, Politics, and Style
Titian
and Venetian Painting, 1450-1590 (Icon Editions)
Titian's Women
Titian
The
Life of Titian
Titian (Library of Great Masters)
Painting in Sixteenth Century Venice: Titian, Veronese, Tintoretto
Titian
to 1518: The Assumption of Genius
by Paul Joannides – Hardcover: 384 pages Publisher: Yale
University Press (March 1, 2002)
Portrait of an Artist: Titian (1989)
Color, NTSC
Titian
and Tragic Painting: Aristotle's "Poetics" and the
Rise of the Modern Artist
Renaissance
Rivals: Michelangelo, Leonardo, Raphael, Titian
Titian
by Filippo Pedrocco – Hardcover: 328 pages Publisher: Rizzoli
International Publications (March 7, 2001)
Titian: Nymph and Shepherd
Titian's 'Venus of Urbino' (Masterpieces
in Western Painting)
Titian: Prince of Painters
Titian's Portraits Through Aretino's Lens
Veiled Images: Titian's Mythological Paintings
for Philip II
Titian 500 (Studies in the History of Art,
Vol 45)
Titian
Titian:The Venetian Colorist (1991)
