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Another painting that apparently remained in his studio at his death, and has been much less well known until recent decades, is the powerful, even "repellent" Flaying of Marsyas (Kroměříž, Czech Republic). Another violent masterpiece is Tarquin and Lucretia (Cambridge, Fitzwilliam Museum). |
For each problem he undertook, he furnished a new and more perfect formula. He never again equaled the emotion and tragedy of The Crowning with Thorns (Louvre); in the expression of the mysterious and the divine he never equaled the poetry of the Pilgrims of Emmaus; while in superb and heroic brilliancy he never again ... |
Titian had engaged his daughter Lavinia, the beautiful girl whom he loved deeply and painted various times, to Cornelio Sarcinelli of Serravalle. She had succeeded her aunt Orsa, then deceased, as the manager of the household, which, with the lordly income that Titian made by this time, placed her on a corresponding fo... |
Titian was at the Council of Trent towards 1555, of which there is a finished sketch in the Louvre. His friend Aretino died suddenly in 1556, and another close intimate, the sculptor and architect Jacopo Sansovino, in 1570. In September 1565 Titian went to Cadore and designed the decorations for the church at Pieve, pa... |
Around 1560, Titian painted the oil on canvas Madonna and Child with Saints Luke and Catherine of Alexandria, a derivative on the motif of Madonna and Child. It is suggested that members of Titian's Venice workshop probably painted the curtain and Luke, because of the lower quality of those parts. |
He continued to accept commissions to the end of his life. Like many of his late works, Titian's last painting, the Pietà, is a dramatic, nocturnal scene of suffering. He apparently intended it for his own tomb chapel. He had selected, as his burial place, the chapel of the Crucifix in the Basilica di Santa Maria Glori... |
Death |
While the plague raged in Venice, Titian died on 27 August 1576. Depending on his unknown birthdate (see above), he was somewhere from his late eighties or even close to 100. Titian was interred in the Frari (Basilica di Santa Maria Gloriosa dei Frari), as at first intended, and his Pietà was finished by Palma il Giova... |
Very shortly after Titian's death, his son, assistant and sole heir Orazio, also died of the plague, greatly complicating the settlement of his estate, as he had made no will. |
Printmaking |
Titian never attempted engraving, but he was very conscious of the importance of printmaking as a means to expand his reputation. In the period 1515–1520 he designed a number of woodcuts, including an enormous and impressive one of The Drowning of Pharaoh's Army in the Red Sea, in twelve blocks, intended as wall decora... |
Painting materials |
Titian employed an extensive array of pigments and it can be said that he availed himself of virtually all available pigments of his time. In addition to the common pigments of the Renaissance period, such as ultramarine, vermilion, lead-tin yellow, ochres, and azurite, he also used the rare pigments realgar and orpime... |
Family and workshop |
Titian's wife, Cecilia, was a barber's daughter from his hometown village of Cadore. As a young woman she had been his housekeeper and mistress for some five years. Cecilia had already borne Titian two fine sons, Pomponio and Orazio, when in 1525 she fell seriously ill. Titian, wishing to legitimize the children, marri... |
In August 1530, Titian moved his two sons and infant daughter to a new home and convinced his sister Orsa to come from Cadore and take charge of the household. The mansion, difficult to find now, is in the Biri Grande, then a fashionable suburb, at the extreme end of Venice, on the sea, with beautiful gardens and a vie... |
When he was very young, the famed Italian painter Tintoretto was brought to Titian's studio by his father. This was supposedly around 1533, when Titian was (according to the ordinary accounts) over 40 years of age. Tintoretto had only been ten days in the studio when Titian sent him home for good, because the great mas... |
Several other artists of the Vecelli family followed in the wake of Titian. Francesco Vecellio, his older brother, was introduced to painting by Titian (it is said at the age of twelve, but chronology will hardly admit of this), and painted in the church of S. Vito in Cadore a picture of the titular saint armed. This w... |
Marco Vecellio, called Marco di Tiziano, born in 1545, was Titian's nephew and was constantly with the master in his old age, and learned his methods of work. He has left some able productions in the ducal palace, the Meeting of Charles V and Clement VII in 1529; in San Giacomo di Rialto, an Annunciation; in Santi Giov... |
From a different branch of the family came Fabrizio di Ettore, a painter who died in 1580. His brother Cesare, who also left some pictures, is well known by his book of engraved costumes, Abiti antichi e moderni. Tommaso Vecelli, also a painter, died in 1620. There was another relative, Girolamo Dante, who, being a sch... |
Few of the pupils and assistants of Titian became well known in their own right; for some being his assistant was probably a lifetime career. Paris Bordone and Bonifazio Veronese were his assistants during at some point in their careers. Giulio Clovio said Titian employed El Greco (or Dominikos Theotokopoulos) in his l... |
Present day |
Contemporary estimates attribute around 400 works to Titian, of which about 300 survive. Two of Titian's works in private hands were put up for sale in 2008. One of these, Diana and Actaeon, was purchased by the National Gallery in London and the National Galleries of Scotland on 2 February 2009 for £50 million. The ga... |
Titian hair |
Titian hair has been used to describe red hair, almost always on women, since the 19th century. Anne Shirley, from Lucy Maud Montgomery's 1908 novel Anne of Green Gables, is described as having Titian hair when 15: |
Well, we heard him say—didn't we, Jane?—'Who is that girl on the platform with the splendid Titian hair? She has a face I should like to paint.' There now, Anne. But what does Titian hair mean?" |
"Being interpreted it means plain red, I guess," laughed Anne. "Titian was a very famous artist who liked to paint red-haired women." |
Gallery of works |
Notes |
References |
Cole, Bruce, Titian and Venetian Painting, 1450–1590, Westview Press, Boulder, Colorado, 1999, ISBN 0-8133-9043-5 |
Gould, Cecil, The Sixteenth Century Italian Schools, National Gallery Catalogues, London, 1975, ISBN 0-947645-22-5 |
Hale, Sheila, Titian: His Life, HarperCollins, New York, NY, 2012, ISBN 978-0-00717582-6 |
Jaffé, David (ed.), Titian, The National Gallery Company/Yale, London, 2003, ISBN 1-85709-903-6 |
Landau, David, in Jane Martineau and Charles Hope (eds.), The Genius of Venice, 1500–1600, Royal Academy of Arts, London, 1983, ISBN 0810909855, ISBN 0297783238 |
Penny, Nicholas, National Gallery Catalogues (new series): The Sixteenth Century Italian Paintings, Volume II, Venice 1540–1600, 2008, National Gallery Publications Ltd, ISBN 1-85709-913-3 |
Ridolfi, Carlo (1594–1658); The Life of Titian, translated by Julia Conaway Bondanella and Peter E. Bondanella, Penn State Press, 1996, ISBN 0-271-01627-2, ISBN 978-0-271-01627-6 Google Books |
This article incorporates text from a publication now in the public domain: Rossetti, William Michael (1911). "Titian". In Chisholm, Hugh (ed.). Encyclopædia Britannica. Vol. 26 (11th ed.). Cambridge University Press. pp. 1023–1026. |
Further reading |
List of works by Titian |
Crowe, Joseph Archer and Cavalcaselle, Giovanni Battista, Titian: His Life and Times. With Some Account of His Family, Chiefly from New and Unpublished Records. Volume I (London: John Murray, 1877) |
The Life and Times of Titian. With Some Account of His Family. Volume II (London: John Murray, 1881). |
Dalvit, Giulio and Peyton, Elizabeth, Titian's Man in a Red Hat, The Frick Collection, 2022, ISBN 978-1-913875-30-5 |
Hudson, Mark, Titian: The Last Days, New York: Walker and Company, 2009. ISBN 978-0-8027-1076-5 |
Loh, Maria H., Titian's Touch: Art, Magic and Philosophy, London: Reaktion Books, 2019, ISBN 978-1789140828, ISBN 178914082X |
Panofsky, Erwin (1969). Problems in Titian, Mostly Iconographic. New York University Press. ISBN 0714813257. |
Nichols, Tom, Titian and the End of the Venetian Renaissance, London: Reaktion Books, 2013. ISBN 978 1 78023 186 0 |
Prose, Francine and Salomon, Xavier F., Titian's Pietro Aretino, The Frick Collection, 2020, ISBN 978-1-911-282-71-6 |
Rossetti, William Michael (1888). "Titian" . Encyclopædia Britannica. Vol. XXIII (9th ed.). pp. 413–417. |
External links |
139 artworks by or after Titian at the Art UK site |
A closer Look at the Madonna of the Rabbit multimedia feature, Musée du Louvre official site (English version) |
The Titian Foundation Images of 168 paintings by the artist. |
Titian's paintings |
Tiziano Vecellio at Web Gallery of Art |
Christies' sale blurb for the recently restored 'Mother and Child' |
Bell, Malcolm The early work of Titian, at Internet Archive |
Titian at Panopticon Virtual Art Gallery |
How to Paint Like Titian James Fenton essay on Titian from The New York Review of Books |
Tiziano Vecellio - one of the greatest artists of all time |
Interactive high resolution scientific imagery of Titian's Portrait of a Woman with a Mirror from the C2RMF |
Titian: general resources, his paintings, and pigments used, ColourLex |
Teresa Lignelli, "Archbishop Filippo Archinto by Titian (cat. 204)," in The John G. Johnson Collection: A History and Selected Works, a Philadelphia Museum of Art free digital publication |
Titian's Filppo Archinto at the Metropolitan Museum of Art |
The poesie exhibition at the National Gallery in London (16 March 2020 – 17 January 2021), the Museo del Prado in Madrid (2 March 2021 – 4 July 2021), and the Isabella Stewart Gardner Museum in Boston (12 August 2021 – 2 January 2022) |
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