Tiziano Vecellio Eserleri - Tiziano Vecellio Tabloları - Tiziano Vecellio Resimleri



The Flaying of Marsyas, little known until recent decades, Gallery in Kromeriz - Czech Republic



The Allegory of Age Governed by Prudence (c. 1565–1570) is thought to depict Titian, his son Orazio, and a young cousin, Marco Vecellio.



Like numerous of his late works, Titian's last painting, the Pieta, is a dramatic scene of suffering in a nocturnal setting. It was apparently intended for his own tomb chapel.



The Death of Actaeon. In Titian's later works, the forms lose their solidity and melt into the lush texture of shady, shimmering colors and unsettling atmospheric effects. In addition to energetic brushwork, Titian was said to put paint on with his fingers toward the completion of a painting.



The Rape of Europa (1562) is a bold diagonal composition which was admired and copied by Rubens. In contrast to the clarity of Titian's early works, it is almost baroque in its blurred lines, swirling colors, and vibrant brushstrokes.



Titian's state portrait of Emperor Charles V (1548) at Mühlberg established a new genre, that of the grand equestrian portrait. The composition is steeped both in the Roman tradition of equestrian sculpture and in the medieval representations of an ideal Christian knight, but the weary figure and face have a subtlety few such representations attempt.



Titian's unmatched handling of color is exemplified by his Danaë with Nursemaid, one of several mythological paintings, or "poesie" ("poems") as the painter called them, done for Philip II of Spain. Although Michelangelo adjudged this piece deficient from the point of view of drawing, Titian and his studio produced several versions for other patrons.



It took Titian two years (1516–1518) to complete his Assunta, whose dynamic three-tier composition and color scheme established him as the preeminent painter north of Rome.



Salome, or Judith; this religious work also functions as an idealized portrait of a beauty, a genre developed by Titian, supposedly often using Venetian courtesans as models.



This early portrait (c. 1512) was long wrongly believed to be of Ariosto; it is more likely a self-portrait, and the composition was borrowed by Rembrandt for his own self-portraits.

Kaynak: wikipedia

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