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Titian's "Battle of Cadore," which we know from the copy of a fragment of it, was a landscape with figures in violent action. Tintoret's battle scenes are parade pictures. Those of Rubens are like his hunting scenes or his Bacchanals, expressions of his own overweening energy.
He would allow no other artist to paint his likeness unless Carreño consented to it. The pictures of Carreño were most excellent, and his character was such as to merit all his good fortune. His death was sincerely mourned by all who knew him. It is said that on one occasion he was in a house where a copy of Titian's "St.
Here, as elsewhere, more particularly in the work of Titian's maturity, one does not in the first place pause to pick out this or the other tint, this or the other combination of colours as particularly exquisite; and that is what one is so easily led to do in the contemplation of the Bonifazi and of Paolo Veronese. Royal Gallery, Berlin.
I cannot imagine, for example, how the resolute champion of undeserving pictures can soar to the amazing beauty of Titian's great picture of the Assumption of the Virgin at Venice; or how the man who is truly affected by the sublimity of that exquisite production, or who is truly sensible of the beauty of Tintoretto's great picture of the Assembly of the Blessed in the same place, can discern in Michael Angelo's Last Judgment, in the Sistine chapel, any general idea, or one pervading thought, in harmony with the stupendous subject.
Farther on the great altar-pieces reappear more sombre, more agitated in passion, as befits the period of the sixteenth century in which Titian's latest years are passed, and the patrons for whom he paints.
It was indeed a big undertaking for the two young men, and they divided the business between them. Their joy was great, their cartoons successfully made and the work well begun, when, alas, they fell to quarreling simply because someone had declared that Titian's work upon the building was a little better than Giorgione's.
Technically, the picture is one of the most brilliant, one of the most subtly exquisite, among the works of the great Cadorine's maturity. It well serves to show what Titian's ideal of colour was at this time. The canvas is all silvery gleam, all splendour and sober strength of colour yet not of colours.
It is the absence and not only the absence, but the ignoring of the possibility of such analysis which tempts one to rebel against such phrases as those of Professor Gates: "the splendid and victorious womanhood of Titian's Madonnas," "the gentle and terrestrial grace of motherhood in those of Andrea del Sarto," the "sweetly ordered comeliness of Van Dyck's."
His apostles, gazing after the Virgin who has left the earth, are thrown into attitudes so violent and so dramatically foreshortened, that seen from below upon the pavement of the cathedral, little of their form is distinguishable except legs and arms in vehement commotion. Very different is Titian's conception of this scene.
Portraits of Titian's daughter Lavinia Death of Aretino "Martyrdom of St. Lawrence" Death of Charles V. Attempted assassination of Orazio Vecellio "Diana and Actaeon" and "Diana and Calisto" The "Comoro Family" The "Magdalen" of the Hermitage The "Jupiter and Antiope" and "Rape of Europa" Vasari defines Titian's latest manner "St. Jerome" of the Brera "Education of Cupid" "Jacopo da Strada" Impressionistic manner of the end "Ecce Homo" of Munich "Nymph and Shepherd" of Vienna The unfinished "Piet
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