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티치안 베첼리오
Tiziano Vecelli or Vecellio (c.1488/90– 27 August 1576)) known in English as Titian, the greatest Italian Renaissance painter of the Venetian school. He was recognized early in his own lifetime as a supremely talented painter, and his reputation has in the intervening centuries never suffered a decline. In 1590 the art theorist Giovanni Lomazzo declared him “the sun amidst small stars not only among the Italians but all the painters of the world.”
The traditional date of Titian’s birth was long given as 1477, but most later critics favoured the date of 1488/90. Titian was the son of a modest official, Gregorio di Conte dei Vecelli, and his wife, Lucia. He was born in the small village of Pieve di Cadore, located high amid mountain peaks of the Alps, straight north of Venice and not far from the Austrian Tyrol. At the age of nine he set out for Venice with his brother, Francesco, to live there with an uncle and to become an apprentice to Sebastiano Zuccato, a master of mosaics. The boy soon passed to the workshop of the Bellini family, where his true teacher became Giovanni Bellini, the greatest Venetian painter of the day.
A fresco of Hercules on the Morosini Palace is said to have been one of Titian’s earliest works. Others were the Bellini-esque so-called Gypsy Madonna in Vienna, and the Visitation of Mary and Elizabeth (from the convent of Sant’Andrea), now in the Accademia, Venice. A Man with a Quilted Sleeve is an early portrait, painted around 1509 and described by Giorgio Vasari in 1568. Scholars long believed it depicted Ludovico Ariosto, but now think it is of Gerolamo Barbarigo. Rembrandt borrowed the composition for his self-portraits.
Titian joined Giorgione as an assistant, but many contemporary critics already found Titian’s work more impressive—for example, in exterior frescoes (now almost totally destroyed) that they collaborated on for the Fondaco dei Tedeschi (state-warehouse for the German merchants). Their relationship evidently contained a significant element of rivalry. Distinguishing between their work during this period remains a subject of scholarly controversy. A substantial number of attributions have moved from Giorgione to Titian in the 20th century, with little traffic the other way. One of the earliest known Titian works, Christ Carrying the Cross in the Scuola Grande di San Rocco, depicting the Ecce Homo scene, was long regarded as by Giorgione.
Titian’s talent in fresco is shown in those he painted in 1511 at Padua in the Carmelite church and in the Scuola del Santo, some of which have been preserved, among them the Meeting at the Golden Gate, and three scenes (Miracoli di sant’Antonio) from the life of St. Anthony of Padua, The Miracle of the Jealous Husband, which depicts the Murder of a Young Woman by Her Husband, A Child Testifying to Its Mother’s Innocence, and The Saint Healing the Young Man with a Broken Limb.
Sometime in the early 1520s Titian brought to his house in Venice a young woman from Cadore whose name was Cecilia. Two sons were born in 1524 and 1525, first Pomponio, who became a priest, and second Orazio, later a painter and Titian’s chief assistant. During Cecilia’s grave illness in 1525, Titian married her. She recovered and later gave birth to two daughters, Lavinia (born 1529/30) and another who died in infancy. On Cecilia’s death in 1530, the artist was disconsolate and he never remarried.
Titian was then at the height of his fame, and towards 1521, following the production of a figure of St. Sebastian for the papal legate in Brescia (of which there are numerous replicas), purchasers pressed for his work. Titian’s skill with colour is exemplified by his Danaë, one of several mythological paintings, or “poesie” (“poems”) as the painter called them. This painting was done for Alessandro Farnese, but a later variant was produced for Philip II, for whom Titian painted many of his most important mythological paintings. Another famous painting is Bacchus and Ariadne, depicting Theseus, whose ship is shown in the distance and who has just left Ariadne at Naxos, when Bacchus arrives, jumping from his chariot, drawn by two cheetahs, and falling immediately in love with Ariadne. Bacchus raised her to heaven. Her constellation is shown in the sky.
During the next period (1530–1550), Titian developed the style introduced by his dramatic Death of St. Peter Martyr. In 1538, the Venetian government, dissatisfied with Titian’s neglect of his work for the ducal palace, ordered him to refund the money he had received, and Il Pordenone, his rival of recent years, was installed in his place. However, at the end of a year Pordenone died, and Titian, who meanwhile applied himself diligently to painting in the hall the Battle of Cadore, was reinstated.
At this time also, during his visit to Rome, the artist began a series of reclining Venuses: The Venus of Urbino of the Uffizi, Venus and Love at the same museum, Venus—and the Organ-Player, Madrid, which shows the influence of contact with ancient sculpture. Giorgione had already dealt with the subject in his Dresden picture, finished by Titian, but here a purple drapery substituted for a landscape background changed, by its harmonious colouring, the whole meaning of the scene.
Among portrait-painters Titian is compared to Rembrandt and Velázquez, with the interior life of the former, and the clearness, certainty, and obviousness of the latter. These qualities show in the Portrait of Pope Paul III of Naples, or the sketch of the same Pope Paul III and his Grandsons, the Portrait of Pietro Aretino of the Pitti Palace, the Portrait of Isabella of Portugal (Madrid), and the series of Emperor Charles V of the same museum, the Charles V with a Greyhound (1533), and especially the Equestrian Portrait of Charles V (1548), an equestrian picture in a symphony of purples.
As a matter of professional and worldly success, his position from about this time is regarded as equal only to that of Raphael, Michelangelo and, at a later date, Rubens. In 1540 he received a pension from d’Avalos, marquis del Vasto, and an annuity of 200 crowns (which was afterwards doubled) from Charles V from the treasury of Milan. Another source of profit, for he was always aware of money, was a contract obtained in 1542 for supplying grain to Cadore, where he visited almost every year and where he was both generous and influential.
Titian had a favorite villa on the neighboring Manza Hill (in front of the church of Castello Roganzuolo) from which (it may be inferred) he made his chief observations of landscape form and effect. The so-called Titian’s mill, constantly discernible in his studies, is at Collontola, near Belluno.
He visited Rome in 1546 and obtained the freedom of the city—his immediate predecessor in that honor having been Michelangelo in 1537. He could at the same time have succeeded the painter Sebastiano del Piombo in his lucrative office as holder of the piombo or Papal seal, and he was prepared to take Holy Orders for the purpose; but the project lapsed through his being summoned away from Venice in 1547 to paint Charles V and others in Augsburg. He was there again in 1550, and executed the portrait of Philip II, which was sent to England and was useful in Philip’s suit for the hand of Queen Mary.
During the last twenty-six years of his life (1550–1576), Titian worked mainly for Philip II and as a portrait-painter. He became more self-critical, an insatiable perfectionist, keeping some pictures in his studio for ten years—returning to them and retouching them, constantly adding new expressions at once more refined, concise, and subtle. He also finished many copies that his pupils made of his earlier works. This caused problems of attribution and priority among versions of his works—which were also widely copied and faked outside his studio during his lifetime and afterwards.For Philip II, he painted a series of large mythological paintings known as the “poesie”, mostly from Ovid, which scholars regard as among his greatest works. Thanks to the prudishness of Philip’s successors, these were later mostly given as gifts, and only two remain in the Prado. Titian was producing religious works for Philip at the same time, some of which—the ones inside Ribeira Palace—are known to have been destroyed during the 1755 Lisbon Earthquake. The “poesie” series contained the following works:
He continued to accept commissions to the end of his life. Like many of his late works, Titian’s last painting, the Pietà, is a dramatic, nocturnal scene of suffering. He apparently intended it for his own tomb chapel. He had selected, as his burial place, the chapel of the Crucifix in the Basilica di Santa Maria Gloriosa dei Frari, the church of the Franciscan Order. In payment for a grave, he offered the Franciscans a picture of the Pietà that represented himself and his son Orazio, with a sibyl, before the Savior. He nearly finished this work, but differences arose regarding it, and he settled on being interred in his native Pieve.
While the plague raged in Venice, Titian died of a fever on 27 August 1576. Titian was interred in the Frari (Basilica di Santa Maria Gloriosa dei Frari), as at first intended, and his Pietà was finished by Palma il Giovane. He lies near his own famous painting, the Madonna di Ca’ Pesaro. No memorial marked his grave. Much later the Austrian rulers of Venice commissioned Antonio Canova to sculpt the large monument still in the church.
Contemporary estimates attribute around 400 works to Titian, of which about 300 survive. Two of Titian’s works in private hands were put up for sale in 2008. One of these, Diana and Actaeon, was purchased by London’s National Gallery and the National Galleries of Scotland on 2 February 2009 for £50 million. The other painting, Diana and Callisto, was for sale for the same amount until 2012 before it was offered to private collectors.
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Bacchus and Ariadne
으로 티치안 베첼리오크기 시작 ₩330,379Diana and Actaeon
으로 티치안 베첼리오크기 시작 ₩336,129Diana and Callisto
으로 티치안 베첼리오크기 시작 ₩325,219The Feast of the Gods
으로 티치안 베첼리오크기 시작 ₩325,219Rape of Europa
으로 티치안 베첼리오크기 시작 ₩351,009Our Lady Ascension
으로 티치안 베첼리오크기 시작 ₩450,569Equestrian Portrait of Charles V 1548
으로 티치안 베첼리오크기 시작 ₩321,929Noli me Tangere
으로 티치안 베첼리오크기 시작 ₩321,929Sacred and Profane Love 1514
으로 티치안 베첼리오크기 시작 ₩500,409Venus of Urbino 1538
으로 티치안 베첼리오크기 시작 ₩358,549Venus and Adonis 1554
으로 티치안 베첼리오크기 시작 ₩308,169Danae
으로 티치안 베첼리오크기 시작 ₩312,759Bacchanal of the Andrians
으로 티치안 베첼리오크기 시작 ₩330,379The Death of Actaeon 1559
으로 티치안 베첼리오크기 시작 ₩284,279Madonna of the Rabbit 1525
으로 티치안 베첼리오크기 시작 ₩336,859The Holy Family with a Shepherd 1510
으로 티치안 베첼리오크기 시작 ₩355,679A Man with a Quilted Sleeve 1510
으로 티치안 베첼리오크기 시작 ₩300,189Woman at her toilet 1515
으로 티치안 베첼리오크기 시작 ₩300,189The Penitent Magdalene
으로 티치안 베첼리오크기 시작 ₩288,259Flora
으로 티치안 베첼리오크기 시작 ₩316,089Venus and Adonis
으로 티치안 베첼리오크기 시작 ₩336,859Venus and Adonis 1560
으로 티치안 베첼리오크기 시작 ₩331,099Danae receiving the Golden Rain
으로 티치안 베첼리오크기 시작 ₩365,079Danae
으로 티치안 베첼리오크기 시작 ₩369,779Venus with a Mirror 1555
으로 티치안 베첼리오크기 시작 ₩321,929An Idyll- A Mother and a Halberdier in a wooded Landscape
으로 티치안 베첼리오크기 시작 ₩294,399Gipsy Madonna 1510
으로 티치안 베첼리오크기 시작 ₩346,269Bache Madonna 1508
으로 티치안 베첼리오크기 시작 ₩341,559Venus and the Lute Player
으로 티치안 베첼리오크기 시작 ₩341,559Venus with organist and Cupid 1555
으로 티치안 베첼리오크기 시작 ₩363,119Venus and organist and little dog 1550
으로 티치안 베첼리오크기 시작 ₩407,299Venus with the Organ Player 1550
으로 티치안 베첼리오크기 시작 ₩422,379Pastoral Concert 1509
으로 티치안 베첼리오크기 시작 ₩356,169Perseus and Andromeda
으로 티치안 베첼리오크기 시작 ₩313,289Mars, Venus and Amor 1530
으로 티치안 베첼리오크기 시작 ₩321,929Nymph and Shepherd
으로 티치안 베첼리오크기 시작 ₩317,349Venus Rising from the Sea (‘Venus Anadyomene’) 1520
으로 티치안 베첼리오크기 시작 ₩312,119Spain succored Religion
으로 티치안 베첼리오크기 시작 ₩268,339St Margaret and the Dragon 1565
으로 티치안 베첼리오크기 시작 ₩292,239Punishement of Sisyph
으로 티치안 베첼리오크기 시작 ₩288,259Allegory of Time Governed by Prudence
으로 티치안 베첼리오크기 시작 ₩284,279Tarquinius and Lucretia 1571
으로 티치안 베첼리오크기 시작 ₩349,409Saint Catherine of Alexandria at Prayer 1567
으로 티치안 베첼리오크기 시작 ₩296,219The Agony in the Garden of Gethsemane
으로 티치안 베첼리오크기 시작 ₩296,219The Agony in the Garden of Gethsemane
으로 티치안 베첼리오크기 시작 ₩340,259The Annunciation 1557
으로 티치안 베첼리오크기 시작 ₩363,119La Gloria
으로 티치안 베첼리오크기 시작 ₩392,189The penitent magdalene 1566
으로 티치안 베첼리오크기 시작 ₩316,089Madonna and Child with Sts Dorothy and George
으로 티치안 베첼리오크기 시작 ₩410,249Madonna of the Cherries
으로 티치안 베첼리오크기 시작 ₩356,169The Vendramin Family 1543
으로 티치안 베첼리오크기 시작 ₩394,399The Virgin and Child between Saint Anthony of Padua and Saint Roque 1508
으로 티치안 베첼리오크기 시작 ₩397,329The Penitent Saint Jerome
으로 티치안 베첼리오크기 시작 ₩324,019The Fall of Man 1550
으로 티치안 베첼리오크기 시작 ₩335,679Abraham and Isaac
으로 티치안 베첼리오크기 시작 ₩340,699David and Goliath
으로 티치안 베첼리오크기 시작 ₩303,579The Burial of Christ 1559
으로 티치안 베첼리오크기 시작 ₩361,319The Burial of Christ 1572
으로 티치안 베첼리오크기 시작 ₩373,229The Aldobrandini Madonna 1530
으로 티치안 베첼리오크기 시작 ₩387,049Assumption of the Virgin
으로 티치안 베첼리오크기 시작 ₩376,759Ecce Homo 1543
으로 티치안 베첼리오크기 시작 ₩402,469Flight into Egypt 1508
으로 티치안 베첼리오크기 시작 ₩417,879Jupiter and Antiope
으로 티치안 베첼리오크기 시작 ₩504,709The Circumcision of Christ
으로 티치안 베첼리오크기 시작 ₩545,539The Madonna and Child with a Female Saint and the Infant Saint John the Baptist
으로 티치안 베첼리오크기 시작 ₩399,679The Madonna And Child With Saints Luke And Catherine Of Alexandria
으로 티치안 베첼리오크기 시작 ₩383,819The Placing of Christ in the Sepulchre
으로 티치안 베첼리오크기 시작 ₩346,739The Martyrdom of Saint Lawrence
으로 티치안 베첼리오크기 시작 ₩387,049The Worship of Venus
으로 티치안 베첼리오크기 시작 ₩309,729Salome with the Head of John the Baptist
으로 티치안 베첼리오크기 시작 ₩280,299Salome with the head of John the Baptist 1550
으로 티치안 베첼리오크기 시작 ₩280,299Salome with the Head of John the Baptist
으로 티치안 베첼리오크기 시작 ₩326,519Christ Carrying the Cross 1560
으로 티치안 베첼리오크기 시작 ₩305,079Christ Carrying the Cross 1565
으로 티치안 베첼리오크기 시작 ₩317,349Christ Blessing
으로 티치안 베첼리오크기 시작 ₩296,219Christ Shown to the People (Ecce Homo)
으로 티치안 베첼리오크기 시작 ₩340,699Christ, a gardener 1553
으로 티치안 베첼리오크기 시작 ₩284,279Ecce Homo 1547
으로 티치안 베첼리오크기 시작 ₩300,189Ecce Homo 1560
으로 티치안 베첼리오크기 시작 ₩312,119Ecce Homo
으로 티치안 베첼리오크기 시작 ₩312,119Pilgrims at Emmaus 1535
으로 티치안 베첼리오크기 시작 ₩402,469The Supper at Emmaus 1545
으로 티치안 베첼리오크기 시작 ₩362,639Christ and the Adulteress
으로 티치안 베첼리오크기 시작 ₩366,469The Tribute Money 1540
으로 티치안 베첼리오크기 시작 ₩325,219Madonna with Child and Saints
으로 티치안 베첼리오크기 시작 ₩397,329The Tribute Money 1516
으로 티치안 베첼리오크기 시작 ₩376,759Madonna and Child with Mary Magdalene
으로 티치안 베첼리오크기 시작 ₩345,859Philip II offering Don Fernando to Victory
으로 티치안 베첼리오크기 시작 ₩351,009Annunciation
으로 티치안 베첼리오크기 시작 ₩428,139Adoration of the Magi
으로 티치안 베첼리오크기 시작 ₩417,879Catherine of Alexandria
으로 티치안 베첼리오크기 시작 ₩371,619Jacopo Pesaro presented to St. Peter by Pope Alexander VI
으로 티치안 베첼리오크기 시작 ₩361,319Treviso Cathedral
으로 티치안 베첼리오크기 시작 ₩340,699Punishment of Tityus 1565
으로 티치안 베첼리오크기 시작 ₩340,699Alfonso d’Avalos Addressing his Troops
으로 티치안 베첼리오크기 시작 ₩376,759Virgin Mary with Child and St. Paul 1510
으로 티치안 베첼리오크기 시작 ₩330,379Man with a Glove 1520
으로 티치안 베첼리오크기 시작 ₩284,279Portrait of a Lady (‘La Schiavona’) 1510
으로 티치안 베첼리오크기 시작 ₩296,219Portrait of Doge Francesco Venier
으로 티치안 베첼리오크기 시작 ₩288,259Portrait of Pope Paul III with His Grandsons 1545
으로 티치안 베첼리오크기 시작 ₩312,759