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Updated: June 24, 2025
Waving a letter in his right hand, he pointed to it with his left, exclaiming: "They are coming. This time two marvels at once. Our Saviour praying in the garden of Gethsemane, and Diana at the Bath. Look, look! Even this is a treasure. These lines are from Titian's own hand." "A peerless old man," Moor began; but Philip impetuously interrupted: "Old man, old man? A youth, a man, a vigorous man.
Titian's landscapes are the noble backgrounds to many of his pictures. These landscapes were not only free, but full. In portraits, Titian conveyed to the sitters and transferred to his canvas, not only a life-likeness, but a positively noble dignity in that likeness.
A small panel was soon found, he had plenty of brushes and colors to choose from, and in a few minutes, a burning heart, transfixed by an arrow, was completed. But the thing looked horribly red and ugly, so he rejected it, and painted imitating one of Titian's angels, which specially pleased him a tiny Cupid, holding a heart in his hand.
He can behold his mistress for ever sublime and pure, can always hear within him what we have just heard on the seashore; can always live in the light of a pair of eyes which create for him the warm and golden glow that surrounds the Virgin in Titian's Assumption, after Raphael had invented it or had it revealed to him for the Transfiguration, and this man only longs to smirch the poem.
Vital creation of character is not possible to Miss Thackeray, but I do not rail against beautiful water-colour indications of balconies, vases, gardens, fields, and harvesters because they have not the fervid glow and passionate force of Titian's Ariadne; Miss Thackeray cannot give us a Maggie Tulliver, and all the many profound modulations of that Beethoven-like countryside: the pine wood and the cripple; this aunt's linen presses, and that one's economies; the boy going forth to conquer the world, the girl remaining at home to conquer herself; the mighty river holding the fate of all, playing and dallying with it for a while, and bearing it on at last to final and magnificent extinction.
The "Worship of Venus" and "Bacchanal" Place in Art of the "Assunta" The "Bacchus and Ariadne" So-called Portraits of Alfonso of Ferrara and Laura Dianti The "St. Sebastian" of Brescia Altar-pieces at Ancona and in the Vatican The "Entombment" of the Louvre The "Madonna di Casa Pesaro" Place among Titian's works of "St. Peter Martyr."
'I might as well see what the old rogue has taken, thought Waring; 'all the tobacco and whiskey, I'll be bound. But nothing had been touched save the lump-sugar, the little book, and the picture of Titian's daughter! Upon this what do you suppose Waring did? He built a boat.
The German pointed out the differences between Titian's method and Durer's, and declared that Venetian painters never quite came up to the promise of their first pictures. Durer's wonderful pictures were quite different from Titian's, inasmuch as his work was fuller of detail and careful finishing, but Titian was as great in another way. His effects were broader, but quite as satisfying.
He placed upon the Saviour's bowed figure, Costa's head, as he had painted it in Titian's studio, and the Madonna, in defiance of the stern judges in Madrid, received the sibyl's face, to please himself and do honor to his mother. He made her younger, transformed her white hair to gleaming golden tresses.
The head of the Pitti Christ in its present state might not conclusively proclaim its origin; but the pathetic and intensely significant landscape is one of Titian's loveliest. Last seen in public at the Old Masters' Exhibition of the Royal Academy in 1895.
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