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Updated: May 13, 2025
The transition from the Cobham Hall portrait to the "Lady" in the Crespi Collection is, to my mind, also a natural and proper one. The painter of the one is the painter of the other. Tradition is herein also perfectly consistent, and tradition has in each case a plausible signature to support it. The TITIANVS F. of the former portrait is paralleled by the T.V. i.e.
Before, however, looking at internal evidence to prove this contention, we may note that another example of the same composition exists in the Gallery of Rovigo, identical save for a cartellino on which is inscribed TITIANVS. To Crowe and Cavalcaselle this was evidence to confirm Titian's claim to be the painter of what they considered the original work viz. the Vienna picture, of which the Rovigo example was, in their opinion, a later copy.
The form TITIANVS points to a period after 1520, when Giorgione had been some years dead, so that it was not unnatural that in after times the credit of invention rested with the author of the signed picture, and that his name came gradually to be attached also to the earlier example. But is there any proof that Titian ever copied or repeated any other work of Giorgione?
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