TitianPieve di Cadore 1480/90 - Venice 1576
Articles
Learn how one artist copies another and makes it his own
Rubens’ Copy of Titian’s Charles V in Armor with a Drawn Sword (c.1603)
One of Titian's masterpieces, it was destroyed by fire in 1577 but recorded in this engraving. Its secret, though, lives on.
Titian’s Battle of Cadore (1538-9)
It is impossible to exaggerate the importance of how Renaissance artists identified with God. Both pervasive and unknown, the idea needs emphasizing to demonstrate its near-ubiquity. Here is yet one more example by Titian.
Titian’s Christ Blessing (c.1560)
Baudelaire's linking of Painting with cosmetics in the nineteenth century was not a novel idea, as long believed, but one with a very long history indeed
Titian’s Mary Magdalene(s) (c.1530-60)
Even in the remaining fragment of a much larger canvas there is still much to see
Titian’s Noli Me Tangere fragment (1553-4)
Train your visual memory to recall similar poses in quite different situations; they usually have some meaning in common
Titian’s Pieta (c.1575)
Relax. Look past the superficial forms to see what's really there.
Titian’s Pope Paul III and His Grandsons (1545-6)
See how one artist identifies with another even if they are rivals
Titian’s Portrait of a Gentleman (c.1520)
Look for the artist's initials where you might expect them
Titian’s Portrait of Ippolito de’ Medici (1533)
A much-loved painting contains a marvelous self-portrait in the clouds
Titian’s Presentation of the Virgin in the Temple (1534-38)
Get to know what painters and sculptors look like at work - and their various processes - and your brain will penetrate the surface of a painting in no time. A painting like this one...
Titian’s Shepherd and Nymph (c.1575-6)
Find out what touching, hands and pointing fingers mean for Titian
Titian’s Touch: Noli Me Tangere (1511-12), Assunta (1520) and Self-portrait (c1560-62)
Artists sometimes depict themselves as an extraneous figure, often in the foreground and not part of the written story.
Titian’s Transfiguration (1560-65)
See what Manet recognized in Titian and how we can then learn it from Manet
Titian’s Venus (c.1548-9) and Manet’s Olympia (1863)
See how Titian tricks us into thinking there is one reality in art when there are, at least, two
Titian’s Woman with a Mirror (1512-15)
EPPH Blog Posts on Titian
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