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Csontváry and mental disorder |
Csontváry is remembered as the “mad painter” in Hungary. Sources, including his own diary indicate that he had suffered from mental disorder at least from the time of his first auditory hallucination experienced at age 27. Many believe that his unique artistic style is a product of his mental difficulties, although opi... |
Legacy |
The Csontváry Museum in Pécs, Hungary, was founded in his honor and holds many of his works. |
The Museum of Fine Arts, the Hungarian National Gallery in Budapest and the Janus Pannonius Museum of Pecs held a joint exhibition called "Csontvary 170" in 2023. |
A quote |
"I, Tivadar Kosztka, who gave up his prime of youth for the rebirth of the world, accepting the call of the invisible Spirit, had a regular civil job, comfort, wealth then (...) Going to Paris in 1907 I oppositely stood alone in front of millions with only the result of the divine providence, and I beat the vanity of t... |
T., Cs. K.: The Positivum. |
Gallery |
References |
Sources |
Mansbach, Steven A.; V. West, Richard (1991). Standing in the tempest: painters of the Hungarian avant-garde, 1908-1930. Santa Barbara Museum of Art. ISBN 978-0-262-13274-9. |
Further reading |
Németh, Lajos. Csontváry. Budapest: Corvina, 1992. ISBN 963 13 2635 7. |
External links |
An extremely high-res photo of painting Ruins of Greek Theatre at Taormina (courtesy of Hungarian National Gallery) |
Csontváry Museum, Pécs (after first switching to English) |
Fine Arts in Hungary |
Short biography |
Csontváry (1980) at IMDb |
Csontvary on the Oceanbidge |
Csontvary in Encyclopedia - Britannica Online Encyclopedia |
Csontváry Geniusz exhibition in Budapest, 2015 |
Tiziano Vecellio (Italian: [titˈtsjaːno veˈtʃɛlljo]; c. 1488/90 – 27 August 1576), Latinized as Titianus, hence known in English as Titian ( TISH-ən), was an Italian Renaissance painter, the most important artist of Renaissance Venetian painting. He was born in Pieve di Cadore, near Belluno. During his lifetime he was... |
Recognized by his contemporaries as "The Sun Amidst Small Stars" (recalling the final line of Dante's Paradiso), Titian was one of the most versatile of Italian painters, equally adept with portraits, landscape backgrounds, and mythological and religious subjects. His painting methods, particularly in the application a... |
His career was successful from the start, and he became sought after by patrons, initially from Venice and its possessions, then joined by the north Italian princes, and finally the Habsburgs and papacy. Along with Giorgione, he is considered a founder of the Venetian school of Italian Renaissance painting. |
During his long life, Titian's artistic manner changed drastically, but he retained a lifelong interest in colour. Although his mature works may not contain the vivid, luminous tints of his early pieces, they are renowned for their loose brushwork and subtlety of tone. |
Biography |
Early years |
The exact time or date of Titian's birth is uncertain. When he was an old man he claimed in a letter to Philip II, King of Spain, to have been born in 1474, but this seems most unlikely. Other writers contemporary to his old age give figures that would equate to birth dates between 1473 and after 1482. Most modern scho... |
He was the son of Gregorio Vecellio and his wife Lucia, of whom little is known. Gregorio was superintendent of the castle of Pieve di Cadore and managed local mines for their owners. Gregorio was also a distinguished councilor and soldier. Many relatives, including Titian's grandfather, were notaries, and the family w... |
At the age of about ten to twelve Titian and his brother Francesco (who perhaps followed later) were sent to an uncle in Venice to find an apprenticeship with a painter. The minor painter Sebastian Zuccato, whose sons became well-known mosaicists, and who may have been a family friend, arranged for the brothers to ente... |
A fresco of Hercules on the Morosini Palace is said to have been one of Titian's earliest works. Others were the Bellini-esque so-called Gypsy Madonna in Vienna, and the Visitation of Mary and Elizabeth (from the convent of Sant'Andrea), now in the Accademia, Venice. |
A Man with a Quilted Sleeve is an early portrait, painted around 1509 and described by Giorgio Vasari in 1568. Scholars long believed it depicted Ludovico Ariosto, but now think it is of Gerolamo Barbarigo. Rembrandt borrowed the composition for his self-portraits. |
Titian joined Giorgione as an assistant, but many contemporary critics already found Titian's work more impressive—for example, in exterior frescoes (now almost totally destroyed) that they collaborated on for the Fondaco dei Tedeschi (state-warehouse for the German merchants). Their relationship evidently contained a ... |
The two young masters were likewise recognized as the leaders of their new school of arte moderna, which is characterized by paintings made more flexible, freed from symmetry and the remnants of hieratic conventions still found in the works of Giovanni Bellini. |
In 1507–1508, Giorgione was commissioned by the state to create frescoes on the re-erected Fondaco dei Tedeschi. Titian and Morto da Feltre worked along with him, and some fragments of paintings remain, probably by Giorgione. Some of their work is known, in part, through the engravings of Fontana. After Giorgione's ear... |
Titian's talent in fresco is shown in those he painted in 1511 at Padua in the Carmelite church and in the Scuola del Santo, some of which have been preserved, among them the Meeting at the Golden Gate, and three scenes (Miracoli di sant'Antonio) from the life of St. Anthony of Padua, The Miracle of the Jealous Husband... |
In 1512 Titian returned to Venice from Padua; in 1513 he obtained La Senseria (a profitable privilege much coveted by artists) in the Fondaco dei Tedeschi. He became superintendent of the government works, especially charged with completing the paintings left unfinished by Giovanni Bellini in the hall of the great coun... |
Growth |
During this period (1516–1530), which may be called the period of his mastery and maturity, the artist moved on from his early Giorgionesque style, undertook larger, more complex subjects, and for the first time attempted a monumental style. Giorgione died in 1510 and Giovanni Bellini in 1516, leaving Titian unrivaled ... |
In 1516, he completed his famous masterpiece, the Assumption of the Virgin, for the high altar of the Basilica di Santa Maria Gloriosa dei Frari, where it is still in situ. This piece of colourism, executed on a grand scale rarely before seen in Italy, created a sensation. The Signoria took note and observed that Titia... |
The pictorial structure of the Assumption—that of uniting in the same composition two or three scenes superimposed on different levels, earth and heaven, the temporal and the infinite—was continued in a series of works such as the retable of San Domenico at Ancona (1520), the retable of Brescia (1522), and the retable ... |
Titian was then at the height of his fame, and towards 1521, following the production of a figure of St. Sebastian for the papal legate in Brescia (of which there are numerous replicas), purchasers pressed for his work. |
To this period belongs a more extraordinary work, The Assassination of Saint Peter Martyr (1530), formerly in the Dominican Church of San Zanipolo, and destroyed by an Austrian shell in 1867. Only copies and engravings of this proto-Baroque picture remain. It combined extreme violence and a landscape, mostly consisting... |
The artist simultaneously continued a series of small Madonnas, which he placed amid beautiful landscapes, in the manner of genre pictures or poetic pastorals. The Virgin with the Rabbit, in The Louvre, is the finished type of these pictures. Another work of the same period, also in the Louvre, is the Entombment. This ... |
Finally this was the period when Titian composed the half-length figures and busts of young women, such as Flora in the Uffizi and Woman with a Mirror in the Louvre. At least according to popular legend, they were modeled by some of Venice's famous courtesans. |
Maturity |
Titian's skill with colour is exemplified by his Danaë, one of several mythological paintings, or "poesie" ("poems"), as the painter called them. This painting was done for Alessandro Farnese, but a later variant was produced for Philip II, for whom Titian painted many of his most important mythological paintings. Alth... |
Another famous painting is Bacchus and Ariadne, depicting Theseus, whose ship is shown in the distance and who has just left Ariadne at Naxos, when Bacchus arrives, jumping from his chariot, drawn by two cheetahs, and falling immediately in love with Ariadne. Bacchus raised her to heaven. Her constellation is shown in ... |
During the next period (1530–1550), Titian developed the style introduced by his dramatic Death of St. Peter Martyr. In 1538, the Venetian government, dissatisfied with Titian's neglect of his work for the ducal palace, ordered him to refund the money he had received, and Il Pordenone, his rival of recent years, was in... |
This major battle scene was lost—with many other major works by Venetian artists—in the 1577 fire that destroyed all the old pictures in the great chambers of the Doge's Palace. It depicted in life-size the moment when the Venetian general d'Alviano attacked the enemy, with horses and men crashing down into a stream. I... |
Less successful were the pendentives of the cupola at Santa Maria della Salute (Death of Abel, Sacrifice of Abraham, David and Goliath). These violent scenes viewed in perspective from below were by their very nature in unfavourable situations. They were nevertheless much admired and imitated, Rubens among others apply... |
At this time also, during his visit to Rome, the artist began a series of reclining Venuses: The Venus of Urbino of the Uffizi, Venus and Love at the same museum, Venus—and the Organ-Player, Madrid, which shows the influence of contact with ancient sculpture. Giorgione had already dealt with the subject in his Dresden ... |
From the beginning of his career, Titian was a masterful portrait-painter, in works like La Bella (Eleanora de Gonzaga, Duchess of Urbino, at the Pitti Palace). He painted the likenesses of princes, or Doges, cardinals or monks, and artists or writers. "...no other painter was so successful in extracting from each phys... |
These qualities show in the Portrait of Pope Paul III of Naples, or the sketch of the same Pope Paul III and his Grandsons, the Portrait of Pietro Aretino of the Pitti Palace, the Portrait of Isabella of Portugal (Madrid), and the series of Emperor Charles V of the same museum, the Charles V with a Greyhound (1533), an... |
This appointment allowed him to gain royal patronage and work on prestigious commissions. As a matter of professional and worldly success, his position from about this time is regarded as equal only to that of Raphael, Michelangelo and, at a later date, Rubens. In 1540 he received a pension from d'Avalos, marquis del V... |
Titian had a favourite villa on the neighboring Manza Hill (in front of the church of Castello Roganzuolo) from which (it may be inferred) he made his chief observations of landscape form and effect. The so-called Titian's mill, constantly discernible in his studies, is at Collontola, near Belluno. |
He visited Rome in 1546 and obtained the freedom of the city—his immediate predecessor in that honor having been Michelangelo in 1537. He could at the same time have succeeded the painter Sebastiano del Piombo in his lucrative office as holder of the piombo or Papal seal, and he was prepared to take Holy Orders for the... |
Final years |
During the last twenty-six years of his life (1550–1576), Titian worked mainly for Philip II and as a portrait-painter. He became more self-critical, an insatiable perfectionist, keeping some pictures in his studio for ten years—returning to them and retouching them, constantly adding new expressions at once more refin... |
For Philip II, he painted a series of large mythological paintings known as the "poesie", mostly from Ovid, which scholars regard as among his greatest works. Thanks to the prudishness of Philip's successors, these were later mostly given as gifts, and only two remain in the Prado. Titian was producing religious works ... |
Danaë, sent to Philip in 1553, now in the Wellington Collection, with earlier and later versions |
Venus and Adonis, of which the earliest surviving version, delivered in 1554, is in the Prado, but several versions exist |
Perseus and Andromeda (Wallace Collection, now damaged) |
Diana and Actaeon, owned jointly by the National Gallery in London and the National Gallery of Scotland in Edinburgh |
Diana and Callisto, were dispatched in 1559, owned jointly by the National Gallery and the National Gallery of Scotland |
The Rape of Europa (Boston, Isabella Stewart Gardner Museum), delivered in 1562 |
The Death of Actaeon, now in the National Gallery in London, begun in 1559 but worked on for many years and never completed or delivered |
The poesie, except for The Death of Actaeon, were brought together for the first time in nearly 500 years in an exhibition in 2020 and 2021 that travelled from the National Gallery in London, to the Museo del Prado in Madrid, to the Isabella Stewart Gardner Museum in Boston, where it closed on January 2, 2022. |
Titian's poesie series for Philip II |
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