Titian, was born in Pieve di Cadore around 1490, a young man he studied in Venice of Giorgione , With whom he worked on the frescoes of the Germans Fondaco, assimilating the revolutionary painting technique based on the use of self-color. From early works Tiziano experiments, however, the plastic strength of color in building forms with very different effects than the soft, veiled painting of Giorgione . Seminal work of youth are the frescoes depicting the stories of St. Anthony, painted in 1511 in the Scuola del Santo in Padua, where the artist ventured into the narrative dramatic congenial to him. Meanwhile, in the wake of Giogione, Titian painted cabinet pictures by subjects airtight.
Prime Tiziano between natural and Classical Size.
PRESENTATION OF THE VIRGIN IN THE TEMPLE
Tiziano Vecellio
1538 - Oil on canvas 335x775 cm
This painting by Titian executed between 1534 and 1539 for the Hall of the Hotel School of Santa Maria della Carita, now incorporated in the Gallerie dell'Accademia, was subject to the "Presentation of the Virgin temple. "The Virgin Mary, the girl is still in the middle of the staircase, and a curious crowd surrounded him. Among the characters on the left, with clothes of the sixteenth century, probably some of the components appear to be portraits of confraternita.Alle doors of the temple, welcome Mary of priests, dressed in red tunics and precious green and gold. In the background you can see the mountains, Marmarole of Cadore, Titian's place of origin, while high, dominates the sky very nuvoloso.Al side the temple we see three other buildings that recall the architecture style of the sixteenth century. The first is supported by some in the Corinthian columns decorated with acanthus leaves. On her side, facing at the window watching two people involved. In them you can recognize Titian himself with his wife, who keep their daughter at the bottom, which supports the steps with his hands. In the second building on the front, projecting a small terrace with three people talking to each other. On the left of the painting, behind the group of women and men, there are two buildings: the first string is followed by a monument with a pyramid at the top, a ball. Beside the staircase from an old blue tunic and white shawl, sells eggs and a sculpture, without its head, stands on the far destra.A these particular we wanted to give the symbolic interpretation of the three eras: pre legem , cioè l'era del paganesimo, rappresentata dalla statua acefala; sub legem , cioè l'epoca del giudaismo, rappresentata dalla vecchia; sub gratia , cioè l'era del cristianesimo con la futura nascita di Gesù dalla Vergine Maria.
Il miracolo del neonato. 1511, affresco del Santo, Padova, Italia.
Titian: The Healing of a child, 1511, school de Santo, fresco, Padua, Italy.
Titian: the miracle of husband
jealous of 1511.
Fresco Scuola del Santo, Padua, Italy
In the three Miracles of St. Anthony (excuse the newborn that the mother, the miracle of the injured woman, the miracle of the foot restored) painted in the Scuola del Santo in Padua, the width of plant forms in view, the aerial perspective and linear landscape, the colorful close-ups tell the gradual development of the Titian painting.
Titian Sacred and Profane Love, 1513 oil on canvas, 118 × 279 cm Rome, Galleria Borghese
The horizontal movement of the composition, led by the sarcophagus shown in the center, follows the shape of the canvas. The figures are placed in a plane parallel to the spettatore.La slight inclination of the two women form an ideal triangle with its apex at the outside of the painted space.
In this landscape dominated by the large space behind it. Nature does not make only the background but is itself a protagonist. It
a green background of the allegory, populated by hunters and a pair of lovers.
Detail
the center of the sarcophagus depicts the coat of arms of Niccolò Aurelio, secretary of the Venetian Republic.
the bottom of the bowl resting on the sarcophagus was found that another coat of Laura Bagarotto , dell'Aurelio married in 1514, it is believed that the painting was executed during the marriage.
Detail
Behind the two women, the little Cupid dips his hand into the water that fills the ancient sarcophagus decorated with reliefs of mythological subjects.
The subject of this allegorical painting, it is still difficult to decipher.
The work is known under the title Sacred and profane, as well as ornate and Beltà disornata or as three loves, none of this makes even the peaceful identification of the figures in the scene.
Probabile che la donna nuda seduta sulla destra sia Venere, dea dell'amore, la lucerna accesa che reca in mano sarebbe la sacra fiamma dell'amore, la sua nudità andrebbe letta come un riferimento alla purezza dell'idea dell'amore che la dea incarna.
Much more identification is discussed instead of the other woman elegantly dressed in clothing fashion and gloved hands, characteristic of the abundance of nobility.
The woman could symbolize earthly love, or the strength of the parent natura.L 'white dress, the presence of the belt and looked straight ahead showing indifference to the blandishments of Venus, have sometimes led to recognize in the woman the embodiment of chastity.
Assunta Venice from 516 to 1518. Tiziano
he completed the first major religious commission for one of the most important churches in Venice, the altarpiece of the Assumption for the high altar of S. Maria Gloriosa dei Frari, with this monumental completely frees the artist Georgie's legacy, creating a new model of the altarpiece.
Special
mythological paintings.
Titian's offer to Venus, 1519 Madrid Prado Museum.
Bacchus and Ariadne
From 1518 to Alfonso I d'Este and Titian decorates the "dressing room alabaster," Duke's private study. These include the 'Offer to Venus ", the" Bacchanal "and" Triumph of Bacchus and Ariadne. " The subjects are related to classical mythology, as well as plastic poses mutuate dalla statuaria antica, ma Tiziano rinnova il genere con la sensualità delle forme, i colori brillanti e densi e l'elemento naturalistico tipico veneziano.
Flora. c.1515-1520- Galleria degli Uffizi, Florence, Italy
A busty woman occupies the first floor of the composition. The tunic has a wide neckline that brief glimpse of the white skin of the left breast, her long wavy hair framing a delicate face slip shoulder sensualità.Con helping to raise his left hand holding a precious damask shawl, while the right hand holding a bouquet of jasmine, violets and roses. In the past, the woman depicted has been identified as the mistress of Titian
La scena, collocata all'interno di un'ampia camera da letto, vede al centro Venere
raffigurata in tutto il suo splendore, distesa su un letto con un cagnolino ai piedi.
La donna volge lo sguardo verso lo spettatore, perfettamente consapevole della sua nudità e della propria bellezza.
Tiziano utilizza al meglio le potenzialità espressive del colore, giocando sull'accostamento per contrasto per esaltare at most a few details.
On the back of the room are two women rummaging in a carved chest to choose the clothes they wear the goddess.
Portraits
Titian: Portrait of Emperor Charles V, 1532-33 Museo del Prado Madrid.
Titian: Portrait of a man said ancheL'Uomo glove, 1523, Paris, Musée du Louvre
. Madrid 1525. Prado Museum
Titian began his career as a portrait painter in about 1515, but only in the decade after the statement was made this field at the major Italian and European courts. Through the portraits became a witness and interpreter of the reality of his time, representing not only the physical appearance and psychological characteristics of the protagonists of political, religious and cultural. What I managed to capture and play is the character of "ideal" of the sitters and the conception of themselves and their office and wanted to show the world through their image reproduced.
Titian, country concert, Paris, Museum the Louvre 1508-1509, oil su tela, cm. 110 x 138.
Il CONCERTO CAMPESTRE venne acquistato da Luigi XIV nel 1671 dal banchiere e collezionista Jabach. Come tutte le collezioni reali oggi appartiene allo stato francese, esposto al Museo del Louvre.
Nel tempo la sua bellezza ha conquistato tanti celebri artisti, fra i quali Manet che a lui s'ispirò per il suo celebre DÉJEUNER SUR L'HERBE. Traduzione-(Colazione sull'erba)
Ormai osannato come il più celebre pittore del tempo, Tiziano è conteso tra le corti italiane: lavora a Mantova per i Gonzaga e ad Urbino per i duchi. Nel 1542 ha inizio la sua collaborazione con papa Paolo III e con la sua famiglia; ben presto si trasferisce a Roma e qui rimane fino al 1546. Nel contempo, la sua apprezzata attività di ritrattista procede ed egli ha l'occasione di ritrarre Carlo V durante la sua incoronazione nel 1530. L'imperatore e suo figlio Filippo II, futuro re di Spagna, ne fanno il loro pittore prediletto. Tiziano lavora per anni al servizio della famiglia asburgica. Muore il 27 agosto del 1576, mentre infuria la peste, lasciando incompiuta l'opera che avrebbe desiderato venisse posta sulla sua tomba: la "Pietà" 
Post tratto dal libro: Storia dell'arte Universale-Da Raffaello a Tiziano- Immagini da Google
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