Born into the Late Renaissance, Titian’s artwork was produced within a different painting philosophy to his predecessors.
At the time, there were two leading schools of thought in painting: the Florentine and the Venetian.
They can also be seen as disegno versus colore, or drawing versus color.
Titian, “Self-Portrait,” circa 1562 (Photo:Wikimedia Commons, Public domain)
By contrast, theVenetian Schoolapproached painting believing that color was the most powerful factor.
Since Titian was born into the Republic of Venice, he was naturally schooled into the Venetian style.
Titian’s House in Pieve di Cadore, Italy.
Titian, “Bacchus and Ariadne,” 1520-23 (Photo:Wikimedia Commons, Public domain)
However, their relationship was not without rivalry.
In spite of this, Titian was consistently pointed out by contemporary critics as the better artist.
Slowly, Titian began to leave behind the styles of his tutors and fulfill his own artistic vision.
Titian’s House in Pieve di Cadore, Italy. (Photos: Margherita Cole)
Titian achieved equal success toMichelangeloand even obtained the Freedom of the City when he visited Rome in 1546.
During this period, Titian’sbrushstrokes became looser, and his colors and textures more atmospheric.
These last works especially show their effects on subsequent art movements like theBaroque period.
Giorgione and/or Titian, “Pastoral Concert,” circa 1510 (Photo:Wikimedia Commons, Public domain)
Titian, “Venus of Urbino,” 1538 (Photo:Wikimedia Commons, Public domain)
Titian, “Rape of Europa,” 1560-2 (Photo:Wikimedia Commons, Public domain)
Titian, “Diana and Actaeon,” 1556-69 (Photo:Wikimedia Commons, Public domain)
Titian, “Pietà,” c. 1576 (Photo:Wikimedia Commons, Public domain)
