Italian High Renaissance Painter, ca.1485-1576 Italian painter active in Venice. As a young man he was taught by the Bellini family and worked closely with Giorgione. His early works are so similar in style to Giorgione's as to be indistinguishable, but soon after Giorgione's early death Titian established himself as the leading painter of the Republic of Venice. Among his most important religious paintings is the revolutionary and monumental Assumption (1516 ?C 18) for Santa Maria dei Frari, in which the Virgin ascends to heaven in a blaze of colour accompanied by a semicircle of angels. Titian was also interested in mythological themes, and his many depictions of Venus display his work's sheer beauty and inherent eroticism. Bacchus and Ariadne (1520 ?C 23), with its pagan abandon, is one of the greatest works of Renaissance art. Titian was sought after for his psychologically penetrating portraits, which include portrayals of leading Italian aristocrats, religious figures, and Emperor Charles V. He reached the height of his powers in The Rape of Europa (c. 1559 ?C 62), one of several paintings done for Philip II of Spain. He was recognized as supremely gifted in his lifetime, and his reputation has never declined.  Related Paintings of Titian :. | Assumption of the Virgin | Das Konzert | Portrat der Laura de Dianti | The Virgin and Child with the Infant Saint John and a Female Saint or Donor | St Augustine |
Related Artists:
CODAZZI, Viviano
Italian Baroque Era Painter, 1604-1670 Italian painter. He arrived in Naples about 1634, having almost certainly trained in Rome. He was a specialist in the realistic architectural VEDUTA, and his interest in this theme may have been stimulated in Rome by the quadratura frescoes of Agostino Tassi and by the urban views of Claude Lorrain and Herman van Swanevelt.
GOLTZIUS, Hendrick
Dutch Baroque Era Painter and Engraver, 1558-1617 Dutch draughtsman, printmaker, print publisher and painter. He was an important artist of the transitional period between the late 16th century and the early 17th, when the conception of art in the northern Netherlands was gradually changing. Goltzius was initially an exponent of Mannerism, with its strong idealization of subject and form. Together with the other two well-known Dutch Mannerists, Karel van Mander I and Cornelis Cornelisz. van Haarlem, he introduced the complex compositional schemes and exaggeratedly contorted figures of Bartholom?us Spranger to the northern Netherlands. These three artists are also supposed to have established an academy in Haarlem in the mid-1580s, but virtually nothing is known about this project. In 1590 Goltzius travelled to Italy, thereafter abandoning Spranger as a model and developing a late Renaissance style based on a broadly academic and classicizing approach. Later still, his art reflected the growing interest in naturalism that emerged in the northern Netherlands from c. 1600.
Edmund M.Ashe
American 1867-1941