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Updated: June 11, 2025
Yet when Titian takes colour itself as his chief motive, he can vie with the most sumptuous of them in splendour, and eclipse them all by the sureness of his taste. A good example of this is the celebrated Bella di Tiziano of the Pitti Gallery, another work which, like the Venus of Urbino, recalls the features without giving the precise personality of Eleonora Gonzaga.
Then, somehow, his thoughts turned back to Europe, and he began a disquisition upon the great old masters Tintoretto, Rembrandt, Velasquez, Tiziano, and Peter Paul with whose immortal works he seemed as familiar as he subsequently showed himself with the pictures in his own house.
Giotto, Era Angelico, Filippo Lippi, Gentile da Fabriano, Ghirlandajo, names like the beads of a rosary, commence the list, to which Botticelli, Perugino, Raffaello Santi, Leonardo da Vinci, Andrea del Sarto, Correggio, Tiziano, Veronese, and, last of all, with a name like the blast of a trumpet, the mighty Michael the Archangel, add their syllabic charm.
"Dopo condottosi Tiziano a Vicenza, dipinse a fresco sotto la loggetta ... il giudizio di Salamone. Appresso tomato a Venezia, dipinse la facciata de' Grimani; e in Padoa nella chiesa di Sant' Antonio alcune storie ... de fatti di quel santo: e in quella di Santo Spirito fece ... un San Marco a sedere in mezzo a certi Santi." These examples prove how inexact Vasari is here once more.
"Bravo, bravo! Bravo, Tiziano!" Titian raised his painter's cap and returned the salute. He stood with one foot on the parapet, looking down and smiling with easy grace, at the pleasure-loving crowd below. A man came in sight around the corner of the Fondaco, walking slowly and looking up at the picture as he came. "Well?" Titian glanced at him keenly. "Great!" responded Giorgione heartily.
And so, as it were to give a proof of his powers before he should do anything else, he copied the head of Duke Ercole of Ferrara from one by the hand of Tiziano, and counterfeited it so well, that it seemed the same as the original; wherefore it was sent, as a work worthy of praise, into France.
The moonlight that flooded the gondola and steps revealed no sign of life in the dark front. The young man sitting with his back to the gondolier raised the call again: "What, ho! Tiziano!" The clear, tenor voice carried far, and occupants of passing gondolas turned to look and smile at the dark, handsome youth as they drifted past.
This arrival caused much vexation to Perino, and he complained of it to many of his friends, not because he believed that Tiziano was likely to surpass him at painting historical scenes in fresco, but because he desired to occupy himself with that work peacefully and honourably until his death, and, if he was to do it, he wished to do it without competition, the wall and the vaulting by Michelagnolo in the Chapel close by being more than enough for him by way of comparison.
Now in the year 1546 there came to Rome the Venetian Tiziano da Cadore, a painter highly celebrated for his portraits, who, having formerly taken a portrait of Pope Paul at the time when His Holiness went to Busseto, without exacting any remuneration either for that or for some others that he had executed for Cardinal Farnese and Santa Fiore, was received by those prelates with the greatest honour in the Belvedere; at which a rumour arose in the Court, and then spread throughout Rome, to the effect that he had come in order to paint scenes with his own hand in the Hall of Kings in the Palace, where Perino was to paint them and the stucco-work was already in progress.
He executed the Leda of Michelagnolo on another, and also an Annunciation after the design of Tiziano, the story of Judith that Michelagnolo painted in the Chapel, the portrait of Duke Cosimo de' Medici as a young man, in full armour, after the drawing by Bandinelli, and likewise the portrait of Bandinelli himself; and then the Contest of Cupid and Apollo in the presence of all the Gods.
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