In the mid-sixteenth century, at almost 60 years of age, Titian invented a new way of painting: the paint was applied to the canvas rapidly and freely and overlaid with brushstrokes that were both light and dense: the forms broke up and a great sensuality and profound spirituality became evident. Titian used an extraordinarily prescient technique to create engaging, stirring painting that in some ways seems to relate to the literary work of the poet Torquato Tasso and even take up the imaginary writings of Ludovico Ariosto published in Venice in the 1530s. Such a painting style had never previously been imagined and was so revolutionary that it was to influence many artists of subsequent centuries through to the modern age. Late Titian became the yardstick not only for younger contemporary painters like Tintoretto, Veronese and Bassano, but also great artists of subseqent cewnturies like Rubens, Rembandt, Velazquez, Gericault and Delacroix and on to the Expressionists.

A gloriously illustrated examination of the origins and development of the nude as an artistic subject in Renaissance Europe Reflecting an era when Europe looked to both the classical past and a global future, this volume explores the emergence and acceptance of the nude as an artistic subject. It engages with the numerous and complex connotations of the human body in more than 250 artworks by the greatest masters of the Renaissance. Paintings, sculptures, prints, drawings, illuminated manuscripts, and book illustrations reveal private, sometimes shocking, preoccupations as well as surprising public beliefs—the Age of Humanism from an entirely new perspective. This book presents works by Albrecht Dürer, Lucas Cranach, and Martin Schongauer in the north and Donatello, Raphael, and Giorgione in the south; it also introduces names that deserve to be known better. A publication this rich in scholarship could only be produced by a variety of expert scholars; the sixteen contributors are preeminent in their fields and wide-ranging in their knowledge and curiosity. The structure of the volume—essays alternating with shorter texts on individual artworks—permits studies both broad and granular. From the religious to the magical and the poetic to the erotic, encompassing male and female, infancy, youth, and old age, The Renaissance Nude examines in a profound way what it is to be human.

This insightful volumes the use of imitation and the modern cult of originality through a consideration of the disparate fates of two Venetian painters - the canonised master Titian and his artistic heir, the little-known Padovanino.

02 In this gorgeously illustrated book, renowned Titian scholars examine some of the celebrated artist’s masterpieces and discuss his life and times, portraits, replicas, and technique. The reproductions and text provide new evidence of Titian’s genius as a stylistic innovator.“A gem of a catalog. Interestingly written, well-documented and beautifully illustrated essays update the scholarship on particular aspects of the life and work of Titian. . . . Highly recommended.”—ChoiceCharles Hope is director of the Warburg Institute and professor at the University of London; Jennifer Fletcher was most recently senior lecturer at the Courtauld Institute; Jill Dunkerton is restorer in the conservation department at the National Gallery, London; Miguel Falomir is head curator of Italian Renaissance painting at the Prado, Madrid; David Jaffé is senior curator at the National Gallery, London; Nicholas Penny is senior curator of sculpture at the National Gallery of Art, Washington; Caroline Campbell is assistant curator of Renaissance paintings at the National Gallery, London; Amanda Bradley is supervisor and guest lecturer in the Department of History of Art, University of Cambridge. In this gorgeously illustrated book, renowned Titian scholars examine some of the celebrated artist’s masterpieces and discuss his life and times, portraits, replicas, and technique. The reproductions and text provide new evidence of Titian’s genius as a stylistic innovator.“A gem of a catalog. Interestingly written, well-documented and beautifully illustrated essays update the scholarship on particular aspects of the life and work of Titian. . . . Highly recommended.”—ChoiceCharles Hope is director of the Warburg Institute and professor at the University of London; Jennifer Fletcher was most recently senior lecturer at the Courtauld Institute; Jill Dunkerton is restorer in the conservation department at the National Gallery, London; Miguel Falomir is head curator of Italian Renaissance painting at the Prado, Madrid; David Jaffé is senior curator at the National Gallery, London; Nicholas Penny is senior curator of sculpture at the National Gallery of Art, Washington; Caroline Campbell is assistant curator of Renaissance paintings at the National Gallery, London; Amanda Bradley is supervisor and guest lecturer in the Department of History of Art, University of Cambridge.

The first definitive biography of the master painter in more than a century, Titian: His Life is being hailed as a "landmark achievement" for critically acclaimed author Sheila Hale (Publishers Weekly). Brilliant in its interpretation of the 16th-century master's paintings, this monumental biography of Titian draws on contemporary accounts and recent art historical research and scholarship, some of it previously unpublished, providing an unparalleled portrait of the artist, as well as a fascinating rendering of Venice as a center of culture, commerce, and power. Sheila Hale's Titian is destined to be this century's authoritative text on the life of greatest painter of the Italian High Renaissance.

The work that Titian produced during the first decade of his career is beautiful and varied, but it has raised many questions of attribution and chronology. This book - the first thorough and coherent account of this period in Titian's life - reconstructs what he painted, when he painted it and what these paintings mean. Paul Joannides begins by discussing the probable course of Titian's early career and his relationship to the Bellinis. There are individual excurses on Giorgione and on Sebastiano del Piombo whose work has often been confused with his. Joannides then offers new interpretations of some of Titian's paintings, emphasising their poetic and dramatic qualities. Among other topics, he associates for the first time the paintings in Saint Petersburg, Venice and Houston; lays out Titian's part of the Fondaco; connects the privately owned Resurrected Christ with the Fogg Circumcision; integrates the Dresden Venus and the Berlin Portrait into Titian's work; and establishes the dynamism and inventiveness of the great Assunta of 1516-18. Joannides provides detailed arguments in support of both new and familiar attributions, proposes a more closely reasoned and precise chronology

Arguably the quintessential work of the High Renaissance in Venice, Titian's Venus of Urbino also represents one of the major themes of western art: the female nude. But how did Titian intend this work to be received? Is she Venus, as the popular title - a modern invention - implies; or is she merely a courtesan? This book tackles this and other questions in six essays by European and American art historians. Examining the work within the context of Renaissance art theory, as well as the psychology and society of sixteenth-century Italy, and even in relation to Manet's nineteenth-century 'translation' of the work, their observations begin and end with the painting itself, and with appreciation of Titian's great achievement in creating this archetypal image of feminine beauty.

Not only does Sir Claude Phillips offer the reader a studied and insightful loook into the work of one of the world's most cherished painters, but he also invites us to discover the bustling world on the Venetian art circle in which Titian lived and worked. From his early years in the workshop of Giovanni Bellini, to his meeting with Michelangelo and his rivalry with Pordenone, the story of Titian's artistic development also tells the story of the most influential Italian Renaissance art.

Presents a survey of sixty Venetian Renaissance paintings of the calibre of Bellini and Titian's "Feast of the Gods" in Washington and Giorgione's "Laura and Three Philosophers" in Vienna.

This volume is a biography of Pierre-Auguste Renoir (1841-1919). Renoir was a French artist who was a leading painter in the development of the Impressionist style. This work dedicates itself to the final three decades of Renoir's career in which the painter turned away from Impressionism and toward a more decorative approach informed by his own idiosyncratic interpretation of art history. During this period, Renoir was initially looking at painters such as Rubens, Titian and Raphael, and dedicating himself to cheery subjects such as bathers, domestic idylls and landscapes that were influenced by both classical mythology and by his relocation to the South of France.