Titian (Tiziano Vecellio) (c. 1485-1576). The greatest painter of the Venetian school.
The evidence for his birthdate is contradictory, but he was certainly very old when he died. He received the more important part of his training in the studio of Giovanni Bellini, then came under the spell of Giorgione, with whom he had a close relationship. In 1506-08 he assisted him with the external fresco decoration of the Fondaco dei Tedeschi, Venice, and after Giorgione's early death in 1510 it fell to Titian to complete a number of his unfinished paintings. The authorship of certain works (some of them famous) is still disputed between them.
Titian's first great commission was for three frescos in Padua (Scuola del Santo, 1511), noble and dignified paintings suggesting an almost central Italian firmness and monumentality. When he returned to Venice, Giorgione having died and Sebastiano gone to Rome, the aged Bellini alone stood between him and supremacy, and that only until 1516 when Bellini died and Titian became official painter to the Republic. Meanwhile he was gradually winning free from the stylistic domination of Giorgione and developing a manner of his own. Something of a fusion between Titian worldliness and Giorgione's poetry is seen in the enigmatic allegory known as Sacred and Profane Love (Villa Borghese, Rome, c. 1516).
This work inaugurated a brilliant period in Titian's creative career during which he produced splendid religious, mythological, and portrait paintings, original in conception and vivid with color and movement. A series of great altarpieces opens with the Assumption (Sta Maria dei Frari, Venice, 1516-18), which in the soaring movement of the Virgin, rising from the tempestuous group of Apostles towards the hovering figure of God the Father, contradicts the stable basis of quattrocento and High Renaissance composition and looks forward to the Baroque. The strong, simple colors used here, and the artist's evident pleasure in the silhouetting of dark forms against a light background, reappear throughout the work of this period. There followed the Pesaro altarpiece (Sta Maria dei Frari, Venice, 1519-26), a bold diagonal composition of great magnificence in which architectural motifs are used to enhance the drama of the scene, and the altarpiece of St Peter Martyr (now destroyed but known to us from several copies and engravings), where trees and figures together form a violent centrifugal composition suited to the action; Vasari described it as `the most celebrated, the greatest work... that Titian has ever done'.
Titian's finest mythological works from this period are three pictures (1518-23) for Alfonso d'Este -- the Worship of Venus, the Bacchanal (both in the Prado, Madrid), and the Bacchus and Ariadne (National Gallery, London) -- and outstanding among his portraits is the exquisite Man with a Glove (Louvre, Paris, c. 1520).
About 1530, the year in which his wife died, a change in Titian's manner becomes apparent. The vivacity of former years give way to a more restrained and meditative art. He now began to use related rather than contrasting colors in juxtaposition, yellows and pale shades rather than the strong blues and reds which shouldered each other through his previous work. In composition too he became less adventurous and used schemes which, compared with some of his earlier works, appear almost archaic. Thus his large Presentation of the Virgin (Accademia, Venice, 1534-38) makes use of the relief-like frieze composition dear to the quattrocento. During the 1530s Titian's fame spread throughout Europe. In 1530 he first met the emperor Charles V (in Bologna, where he was crowned in that year) and in 1533 he painted a famous portrait of him (Prado) based on a portrait by the Austrian Seisenegger. Charles was so pleased with it that he appointed Titian court painter and elevated him to the rank of Count Palatine and Knight of the Golden Spur -- an unprecedented honor for a painter. At the same time his works were increasingly sought after by Italian princes, as with the celebrated Venus of Urbino (Uffizi, Florence, c. 1538), named after its owner, Guidobaldo, Duke of Camerino, who later became Duke of Urbino. The pose is based on Giorgione's Sleeping Venus (Gemдldegalerie, Dresden), but Titian substitutes a direct sensual appeal for Giorgione's idyllic remoteness.