1. Titian
Belluno, in about 1490, Tiziano Vecellio (Titian) moved to Venice as a young man, where he trained with Giovanni Bellini and became acquainted with Giorgione's style. His first works "Noli me tangere" and "Slavonian woman" (1510) at the National Gallery in London, and some portraits, are characterized by the use of the chiaroscuro technique and by strong and penetrating inward looking expressions of personal absorption. In the same period, he painted "Flora" (1515), at the Uffizi, a sensual image, more like a well-built young girl than the traditionalstatuesque flower giver as portrayed in Botticelli's "Allegory of Spring". Later Titian moved closer to the style of Raphael and his harmonious shapes, as can be seen in the famous "Sacred and Profane love" (1515) at the Borghese Gallery in Rome, the interpretation of which is still subject to controversy, but probably inspired by a contemporary poem ("The Battle of Sleep and Love" by Francesco Colonna). The two women portrayed could be meant to represent two very different but connected worlds: the wise and virtuous wife and the sensual nymph. In his next works Titian was influenced by northern European artists, particularly Durer and his elongated figures, as well as by Mantegna and his environmental and architectural detail. These characteristics are noticeable in the large "Assunta altar-piece" (1518) in the Frari Church, Venice. Titian then worked as court painter in Ferrara for the Estensi family, in Mantua for the Gonzagas and in Urbino, creating some marvellous pictures on mythological themes ("Bacchanal" at the Prado Museum in Madrid and "Venus of Urbino" at the Uffizi. At the same time he continued his religious paintings: worth remembering are the "Pesaro altar-piece" (1519-26) in the Frari Church, Venice, the "Averoldi Polyptych" (1520-22) in the Church of St. Nazarius and St. Celsus in Brescia, and the "Presentation of Mary at the Temple" (1526) at the Accademia in Venice.
Compare a selection of Self-Portraits by Rembrandt with those of an earlier artist, such as Durer or Titian. ... Many artists were influenced by the styles and techniques of Titian, one of these being Rembrandt. Titian was known as a recognised master of the High renaissance style of art. ... Through all of these attributes that Titian held, Rembrandts style and ideas were formed. Titian was also 16th Century artist, this time period also had a great influence on Rembrandt, as can be seen in his, "Self-Portrait in a Stand-Up Collar." ...
Through his travels to Italy he became greatly influenced by many artists, including Titian. ... Take for example his copy of the titian painting "Venus and Adonis". When comparing this painting to the titian original, it is easy to see the difference between the late renaissance style of titian and the baroque style of Rubens. ... Titian's landscape is very soft but solid, and obviously not meant to be the focal point of the piece, which was very typical in northern European painting of this time. ... Titian's interest is on the human figure, in its most perfect state. ...
The resulting problems of this work are obvious, and frustrate many historians in attempting to distinguish the stroke of Titian from that of one of his students. ... Upon seeing this, his father sent young Tintoretto to a very costly art school run by the famous Venetian painter Titian. ... He was a formidable designer and, according to Ridolfi, he had inscribed on his studio wall the motto "The drawing of Michelangelo and the color of Titian". ... Upon terminating his stay at Titian's studio, Tintoretto also terminated many connections within Titian's circle of political and social...
In this period of art history one sees the works of, among many others, Tiziano Veccellio or also known as Titian. ... In The Three Ages of Man, Titian uses young infants, adolescents, mature adults and even old trees to show the three different periods in a man or woman's life. ... Titian first shows the babies then the young lady followed by the couple and the tree being pushed over by the babies to make room for them. ... In The Allegory of Prudence, Titian utilises animals to show the evolution of human life. ... At this point, Titian reveals his motives. ...
His work changed stylistically with a Titian-like emotion in subject matter and in execution. In 1654 Rembrandt made a rendition of Titian's Flora with his late partner, Hendrickje, as his supposed model. Rembrandt's approach varied in technique from Titian's original primarily by the handling of the paint. ... Her expression in Rembrandt's portrait is more intimate and expressive than in Titian's Flora and her gesture comes across as more genuine. It seems as if Rembrandt mimicked Titian's course of change in style over the span of his career. ...
Such reformers in the sixteenth century as John Calvin, Titian, and Ulrich Zwingli have posed a certain attitude towards women. ... An artist named Titian, portrayed women as "thick", because he wanted to show that they were capable of having children. ...
uch as Da Vinci, Michaelangelo, Titian, and Raphael developed paintings in the narrative style that demonstrated the "body in a more scientific and natural manner," thus demonstrating the various aspects of every day life. ... As the Italian Renaissance hits its climax around the 16th century, a new generation of artists such as Da Vinci, Raphael, Michaelangelo, and Titian developed paintings that revealed anatomic structure of humans. ... Another great artist that followed the same concept was Titian. ... These genius artists such as Da Vinci, Michaelangelo, Raphael, and Titian began to gain...
Artists such as Leonardo da Vinci, Titian and Thomas Gainsborough helped to revolutionise art in this period, choosing to disregard conventions and portray their women in unconventional ways. ... In comparison Titian made a statement in a different way, he chose to portray women in a way which praised female sexuality. Often commented on as being erotic, it is more likely that Titian's images were a reflection of the time when individuals were defined by human sexuality which was seen as central to an individual's identity and personality' (Goffin Rona, Discourse: Feminism...