Introduction
Art has been evolving for many years since time immemorial. One of the reasons as to why it is pretty difficult to date the time artwork began is because the practice is as old as human beings. However art gained its known exponential growth within the last one thousand years. This was the era when the famous Michelangelo and Leonardo da Vinci brought their paintworks into fame. It was also during this period that the famous painter Titan exposed his remarkable talent through paintings.
The real names of Titian are Tiziano Vecellio. He was ranked the best artist of the (sixteenth) century. He is well known because of his extraordinary use of color in his paintings. Titian used his paintings to influence the society greatly. Thus he contributed to all the major initiatives of art and related works. His paintings could touch on all sectors of life to exhibit the mythology and cultural practices of the prevailing environment.
Titian’s trainers were Giovanni Bellini (1459-1516) and Giorgione (1478-1510) of which Giovanni was influential because he used a tonal approach in his artwork and for his landscape styles that were quite evocative. Thus Titian and Giovanni worked in a similar way to the extent of making the situation hard for the artistic world to fix the boundaries between their works.
The works of Titan are celebrated way beyond the national border of Italy to the entire planet. His timely works include the drawings of landscape and goat and two Satyrs in a landscape which exemplified mythological figures in a fine landscape whose naturally occurring picturesque contrasts sharply with the ordered arrangement that is at equilibrium.
Early years
The early years of Titian were marked with major achievements of his life. When he was nine years old he went to Venice with his elder brother to his uncle’s home for a stay. The other reason why Titan went to Venice is because he wanted to partner with Sebastiano Zuccato who was by then a master of mosaics, that is, Sebastiano knew a lot about the art of painting. Titian soon passed to the workshop of the Bellini the place where Giovanni became his true teacher (McKenzie 2003). By then Giovanni was the greatest Venetian painter.
During his school times, Titian’s works exhibited the nature of a young man who coupled up to be a student. Titan also became friends with another young student of Giovanni Bellini. The young man was called Giorgione and his hometown was Castelfranco. The two young men combined their efforts in major paintings during the time they were together. This explains why it is so hard to differentiate between the two artists in their early years. That was during the 16th century (NNDB, 2010).
As it is demystified, Titian’s first work which he was able to do independently was the paintings at Padua. These paintings are famously known as the three miracles of St. Anthony.
Other exemplary masterpieces of Titian include the “Miracle Of The Speaking Infant” and the “Miracle Of The Irascible Son” in which the latter has a beautiful background landscape which has captured the eyes of many interested individuals. When Giorgione died Titian was involved in the duty of adding the landscape background to his master’s unfinished work, the famous Sleeping Venus.
Another work which displays the sexual relationship of a young couple which is hidden and there is also a tender and sad mood is in the portrait of the Three Ages of Man. This is also one of the most prolific works of Titan during his young energetic years.
The current work of Titan whose allegory is more hidden and is presented in a landscape of great levels of beauty is the work called Sacred and Profane Love. In this illustration it is explained comparatively to the Neoplatonic theory that the two women, the characters on the left side and those on the right side of the painting are particularly well known characters of that time. The lovely Salome is represented by a beautiful young lady instead of a cruel biblical woman.
In addition to this there are quite a number of paintings which were attributed to Giorgione, Titian’s master. However these works have been conceded to Titian, an action which makes it hard for historians to structure Titian’s early career. That is why until now his career has remained quite unclear with the correct sequencing of his work becoming more and more elusive to modern historians and artists (McKenzie 2003).
It is worth noting that Titian was hired by Federico in 1529 where Titian was paid on a commission basis. Federico had also done this to help Titian purchase land near Trevisco.
The land issue however, never materialized but the Duke compensated Titian with the gift of Benefice of Medole. This made Titian work for Federico for the next ten years (Reiss & Wilkins, 2001). He emerged the first (Venetian) artist to attain eminence during his generation. He was also the first Venetian artist to be employed by masters beyond the borders of Venice.
Titan’s family
Titian was born in Pieve di Cadore, Venice, Italy in the year 1488. He was a Roman Catholic whose main occupation was painting. From the place of his birth he was better known as Da Cadore, which was the name commonly used during his lifetime. His father was called Gregorio di Conte dei Vecelliwhile his mother was called Lucia.
Titian had an elder brother who was called Francesco Vecelli. During his youthful life he was married to Cecilia with whom they were able to raise two sons and one daughter namely Pomponio, Orazio and Lavinia respectively. Pomponio grew up to become a priest (NNDB, 2010).
Titian introduced his elder brother Francesco Vecelli to painting who later on painted in a church located in Cadore. The painting in this church was of the titular saint who was armed. It is believed that Titian was jealous to this painting and thus dissuaded his elder brother from painting into other activities such as being a soldier and later on to business life.
Another member of Titian’s family who engaged in painting was his nephew Marco di Tiziano. Tiziano mastered the art of painting from his old uncle and as part of his achievements in this field; he did famous paintings in the ducal palace, in S. Giacomo di Rialto and in some other places. One of Marco’s sons called Tiziano also did paint during the 17th century.
Fabrizio di Ettore was also a painter who came from Titian’s family together with other relatives who include Tommaso Vecelli, Girolamo Dante. The latter, because of being a scholar and Titian’s assistant was later known as Girolamo di Tiziano, and his pictures were upgraded by his master such that it is hard to distinguish from originals.
Maturity
In early 1520’s, Titian married Cecilia with whom they had two sons and two daughters. One of the daughters died in her infancy. Another heavy blow to Titian was the death of his wife in 1530. This aggrieved the artist so much that he never remarried. He thus resorted to dedicate his entire life to painting (Triumph of the city, 2010). In his mature works, Titian was able to do various paintings that illustrated mythological, religious, and portraits of different personalities.
Mythological paintings of Titian
Titian was able to do paintings even abroad. Alfonso I d’Este hired Titan as one of the chief masters in many mythological paintings in his castle. The house had newly rebuilt rooms which were called the Alabaster Chambers. The castle was located at Ferrara. Currently two of the paintings are in Prado Madrid.
They are the Worship of Venus (McKenzie, 2003), and The Adrians. Some of the most popular paintings of Titian and are now in the London National Gallery. There are also some other works of Titian which showed violence and battle scenes for instance the “Jealous Husband and the Battle of Cadore” which showed some mythological aspects (Fritzsche, 2010).
Religious paintings of Titian
The Assumption was among Titian’s prolific religious paintings. The painting illustrates the victorious Virgin ascending to heaven while she is accompanied by a large number of angels surrounding her and while the extremely surprised apostles looking at this extra ordinary miracle. This work was able to earn Titan the title of a great genius.
Another one of his work similar in religious terms illustrates Madonna and saints with the male members of the Pesaro family (McKenzie, 2003). They are in a church at a columnar portico and the picture also has a beautiful sunny and shadowy illustration (Triumph of the city, 2010). This particular painting created a formula which was followed by the next generation of painters widely. Up until now the established formula is being widely used especially with European painters.
Another one of his prolific religious works was his painting of Madonna and child with St. Catherine and a Rabbit. Also the Madonna and child with SS. John the Baptist and Catherine of Alexandria was one of his religious masterpieces. The entombment was Titian’s first tragic work of art. In this painting, Titian illustrates the death of Christ which was followed by the despair of his followers.
Another canvas which has the Presentation of the Virgin in the temple represents the wealth of the Venetian Renaissance community in a splendid architectural framework (Triumph of the city, 2010). Hence apart from doing secular paintings, Titian also did religious paintings. In addition to this Titian painted with a lot of fire in his religious work. A good example is his work on the crucifixion of Christ whereby he painted Christ with a thorny crown which blazes in the dark.
Titian’s Portraits
Titian moved to the Casa Grande palace which is now a 20th century slum in 1531 after which he returned to Bologna to paint Charles V for the second time during the occasion of the meeting between Charles V and Pope Clement VII between 1532-1533. The portrait pleased Charles thus giving Titian the honor of knighthood.
Other portraits of Titian include the “Alfonso d’Avalos, Marques del Vasto”, “Francesco Maria della Rovere, Duke of Urbino”, “Doge Andrea Gritti” amomg many others (Triumph of the city 2010). The above mentioned portraits are also famously known for their appealing nature due to the moods and other features and emotions presented in the paintings.
Titian’s Final years
After touring all over Europe, Titian made a come back to Venice (1551). He did more and more of his works during the last twenty five years of his life. Among his works during the final years of his life were portraits of Jacopo Strada, which he presents a small statue in a brilliant manifestation of talent in artwork. Titian also did a painting of himself portraying him as a dignified person in his knighthood chain. He also illustrates his intelligence on his face together with a tired Titian.
The “Trinity” which was done for the devotion of Charles V was also a religious work done by Titian during his old age. “The Martyrdom of St. Lawrence” was his religious work in old age that marked another step in the direction of Baroque form in the years that followed (Triumph of the city 2010).
Titian reached the acme of his energies when he did the painting of the “Rape of Europa” which continues to stand out as one of his most outstanding masterpieces. This painting has survived and is in almost perfect condition as per now. In addition to this, Titian’s latest works also represented his state of loneliness and a sense of solitude. Tragedy was also a dominant theme in his later works (McKenzie, 2003).
Titian’s death
Titian died on August 27, 1576 in Venice when he was in his early 90s. His work did permanently affect the direction of Europe’s painting industry. His artwork has attained the acme of achievement in painting within human reach. He is also known as the person who enjoyed his glory as a celebrity during his own life.
Conclusion
Titian was unarguably the best artist during his lifetime. He established various new styles of representing different features in his works. From landscape to mood and from emotions to natural environment, Titian was able to convey his message on the mythologies of the time. He was able to learn quickly from his master and practice it independently to become a renowned artist of the century. Due to this fact, Titian was able to travel far and beyond his township to meet dukes and religious leaders who were happy of his works.
As a result, Titian was called into palaces and churches all over Europe to do paintings of portraits and religious works. Until now, his work is celebrated across the globe with part of his original paintings being major attractions in the museums of Italy and London.
Although most of his works were destroyed by poor storage or by malicious fires, the few of his works present in contemporary museums attests to the fact that he was able to do prolific masterpieces which earned him great honor. In addition to this he also painted in castles and was able to be employed by rich people such as Federico who would offer great financial assistance to Titian.
Reference List
Fritzsche, R. (2010). Reflections on Renaissance Politics and Art: Titian’s Battle. Web.
McKenzie, J. (2003). Titian, National Gallery, London. Web.
NNDB (2010). Titian, AKA Tiziano Vecellio, Soylent Communications. Web.
Reiss, S & Wilkins, D. (2001). Beyond Isabella: secular women patrons of art in Renaissance Italy, Alcorn Publication Design. Truman: Truman State University Press.
The Triumph of the City, (2010). The High Renaissance & Mannerism, Renaissance Art Map. Web.