Tiziano Vecelli or Tiziano Vecellio was born around 1485 and died August 27, 1576, and was better known as Titian; the leader of the 16th-century Venetian school of the Italian Renaissance. He was born in Pieve di Cadore, near Belluno, Veneto, in the Republic of Venice. During his lifetime he was often called Da Cadore, taken from the place of his birth.
Recognized by his contemporaries as "the sun amidst small stars" (recalling the famous final line of Dante?s Paradiso, Titian was one of the most versatile of Italian painters, equally adept with portraits and landscapes (two genres that first brought him fame), mythological and religious subjects. His painting methods, particularly in the application and use of color, would exercise a profound influence not only on painters of the Italian Renaissance, but on future generations of Western art. During the course of his long life Titian's artistic manner changed drastically;[ what unites the two parts of his career is his deep interest in colour. His later works may not contain vivid, luminous tints as his early pieces do, yet their loose brushwork and subtlety of polychromatic modulations have no precedents in the history of Western art.
Titian was extremely, and famously, old when the plague raging in Venice seized him, and he died on August 27, 1576. He was the only victim of that plague to be given a church burial and was interred in the Frari (Santa Maria Gloriosa dei Frari), as at first intended, and his Piet? was finished by Palma the Younger. He lies near his own famous painting, the Madonna di Ca' Pesaro. No memorial marked his grave, until much later the Austrian rulers of Venice commissioned Canova to provide the large monument.
Early Self Portrait
http://i272.photobucket.com/albums/jj171/Azjahh/Art%20Museum/Tizianearlyselfportrait.jpg
Later self portrait
http://i272.photobucket.com/albums/jj171/Azjahh/Art%20Museum/Tizianselfportrait.jpg
Assunta: 1516-1518 dynamic three-tier composition and gorgeous color scheme established him as the preeminent painter north of Rome.
http://i272.photobucket.com/albums/jj171/Azjahh/Art%20Museum/TizianAssunta.jpg
Titian's state portrait of Emperor Charles V at Muehlberg (1548) established a new genre, that of the grand equestrian portrait. The composition is steeped both in the Roman tradition of equestrian sculpture and in the medieval representations of an ideal Christian knight, but the weary figure and face have a subtlety few such representations attempt.
http://i272.photobucket.com/albums/jj171/Azjahh/Art%20Museum/TizianEmperor.jpg
Titian's unmatched handling of color is exemplified by his Danae, one of several mythological paintings (or "poems" as the painter called them) commissioned by Philip II of Spain in 1554. Although Michelangelo adjudged this piece deficient from the point of view of drawing, Titian's studio reproduced it for other patrons more than once.
http://i272.photobucket.com/albums/jj171/Azjahh/Art%20Museum/Titiandanae.jpg
The Rape of Europa (1562) is a bold diagonal composition which was admired and copied by Rubens. In contrast to the clarity of Titian's early works, it is almost baroque in its blurred lines, swirling colors, and vibrant brushstrokes
http://i272.photobucket.com/albums/jj171/Azjahh/Art%20Museum/TizianRapeofEuropa.jpg
Acteon In Titian's later works, the forms lose their solidity and melt into the lush texture of shady, shimmering colors and unsettling atmospheric effects. In addition to energetic brushwork, Titian was said to put paint on with his fingers toward the completion of a painting.
http://i272.photobucket.com/albums/jj171/Azjahh/Art%20Museum/TitianActaeon.jpg
Like so many of his late works, Titian's last painting, the Pieta, is a dramatic scene of suffering in a nocturnal setting. It was apparently intended for his own tomb chapel.
http://i272.photobucket.com/albums/jj171/Azjahh/Art%20Museum/TizianLaPieta.jpg
((All information and images are taken from Wikipedia. Full credit and rights belong to Wikipedia. Images are Public Domain due to copyright expiration.))
Recognized by his contemporaries as "the sun amidst small stars" (recalling the famous final line of Dante?s Paradiso, Titian was one of the most versatile of Italian painters, equally adept with portraits and landscapes (two genres that first brought him fame), mythological and religious subjects. His painting methods, particularly in the application and use of color, would exercise a profound influence not only on painters of the Italian Renaissance, but on future generations of Western art. During the course of his long life Titian's artistic manner changed drastically;[ what unites the two parts of his career is his deep interest in colour. His later works may not contain vivid, luminous tints as his early pieces do, yet their loose brushwork and subtlety of polychromatic modulations have no precedents in the history of Western art.
Titian was extremely, and famously, old when the plague raging in Venice seized him, and he died on August 27, 1576. He was the only victim of that plague to be given a church burial and was interred in the Frari (Santa Maria Gloriosa dei Frari), as at first intended, and his Piet? was finished by Palma the Younger. He lies near his own famous painting, the Madonna di Ca' Pesaro. No memorial marked his grave, until much later the Austrian rulers of Venice commissioned Canova to provide the large monument.
Early Self Portrait
http://i272.photobucket.com/albums/jj171/Azjahh/Art%20Museum/Tizianearlyselfportrait.jpg
Later self portrait
http://i272.photobucket.com/albums/jj171/Azjahh/Art%20Museum/Tizianselfportrait.jpg
Assunta: 1516-1518 dynamic three-tier composition and gorgeous color scheme established him as the preeminent painter north of Rome.
http://i272.photobucket.com/albums/jj171/Azjahh/Art%20Museum/TizianAssunta.jpg
Titian's state portrait of Emperor Charles V at Muehlberg (1548) established a new genre, that of the grand equestrian portrait. The composition is steeped both in the Roman tradition of equestrian sculpture and in the medieval representations of an ideal Christian knight, but the weary figure and face have a subtlety few such representations attempt.
http://i272.photobucket.com/albums/jj171/Azjahh/Art%20Museum/TizianEmperor.jpg
Titian's unmatched handling of color is exemplified by his Danae, one of several mythological paintings (or "poems" as the painter called them) commissioned by Philip II of Spain in 1554. Although Michelangelo adjudged this piece deficient from the point of view of drawing, Titian's studio reproduced it for other patrons more than once.
http://i272.photobucket.com/albums/jj171/Azjahh/Art%20Museum/Titiandanae.jpg
The Rape of Europa (1562) is a bold diagonal composition which was admired and copied by Rubens. In contrast to the clarity of Titian's early works, it is almost baroque in its blurred lines, swirling colors, and vibrant brushstrokes
http://i272.photobucket.com/albums/jj171/Azjahh/Art%20Museum/TizianRapeofEuropa.jpg
Acteon In Titian's later works, the forms lose their solidity and melt into the lush texture of shady, shimmering colors and unsettling atmospheric effects. In addition to energetic brushwork, Titian was said to put paint on with his fingers toward the completion of a painting.
http://i272.photobucket.com/albums/jj171/Azjahh/Art%20Museum/TitianActaeon.jpg
Like so many of his late works, Titian's last painting, the Pieta, is a dramatic scene of suffering in a nocturnal setting. It was apparently intended for his own tomb chapel.
http://i272.photobucket.com/albums/jj171/Azjahh/Art%20Museum/TizianLaPieta.jpg
((All information and images are taken from Wikipedia. Full credit and rights belong to Wikipedia. Images are Public Domain due to copyright expiration.))