titian and the end of the venetian renaissance · 2013. 12. 12. · giovanni bellini: the model...

titian and the end of the venetian renaissance

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TITIANand the end of the Venetian Renaissance

Tom Nichols

r e a k t ion b o ok s


For Kerr¥

Published by reaktion books ltd

33 Great Sutton Street London

ec1v 0dx, uk

www.reaktionbooks.co.uk

Copyright © Tom Nichols 2013

All rights reservedNo part of this publication may be reproduced, stored in a retrieval system,

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British Library Cataloguing in Publication Data

isbn 978 1 78023 186 0


Introdu±ionTitian’s Last Painting: The Sight of Death 7 – An Inglorious Passing; or,

The Difficult Case of the Pietà 9 – How ‘Venetian’ was Titian? 12 Surrogate Monuments to the Leader of a Tradition 15

one: Art as Appropriation: The Rise of TitianGiovanni Bellini: The Model Venetian 19 – Bellini and Titian: Master and Pupil 20

Titian and the Venetian Istoria 23 – Titian and Giorgione 30 – Giorgione and Titian’s Early Portraiture 35 – The Early Mythologies 43 – Titian Repaints Palma Vecchio 55

two: Remaking Tradition: Icons and AltarpiecesAnachronic Titian 59 – The Modern Icon 60 – The Cultural Dynamics of Space in Two Altarpieces for Venice 64 – Private Values in a Public Picture Type 72

Altarpiece or Artwork? 78

three: Portraiture and Non-venezianitàPortraiture in Renaissance Venice 83 – Titian’s Portraits to 1530: Accommodation

of the Courts 87 – Habsburg and Related Portraits of the 1530s 95 Historical Portraits 99 – Natura Potentior Ars 117

four: Sacred Painting, the Poesie and the Late StyleTitian as Tradition 123 – Titian’s Hybrid Poesie 134 – Two Late Mythologies 146

Early Responses to Titian’s Late Style 149 – The Late Style in Critical and Historical Perspective 153

five: Titian and Venice: Surviving the Father of ArtPatrons and Prices 157 – Titian versus the Rest: A Literary Self-image 159

Pictor et eques: Titian’s Self-portraits 161 – Images of Succession 167 – Images of Attachment 173 – The Darker Side of Titian; or, The Anti-image 179

Venetian Responses to Titian: Veronese and Tintoretto 186

ConclusionTitian and the End of the Venetian Renaissance 199 – Titian in Disguise 201

references 207bibliograph\ 238

acknowledgements 247photo acknowledgements 248

index 249

CONTENTS*


1 Titian, Pietà, c. 1570–76. Gallerie dell’Accademia, Venice.


6 Luigi Zandomeneghi and Pietro Zandomeneghi, Monument to Titian, 1838–52, marble. S. Maria Gloriosa dei Frari, Venice.


7 Vittore Belliniano, Portrait of Giovanni Bellini, charcoal, wash and bistreon paper, 1505. Musée Condé, Chantilly.

8 Giovanni Bellini, Portrait of Gentile Bellini, c. 1496, charcoal on paper.Kupferstichkabinett, Staatliche Museen, Berlin.

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Giovanni Bellini: The Model VenetianWhen Titian arrived in the metropolis of Venice fromthe remote mountain village of Cadore around 1500,painting was dominated by two local artists, the broth-ers Gentile and Giovanni Bellini. They were the sons ofJacopo Bellini, the leading master in Venice in thedecades before his death in 1471, and had inherited hissocial status as cittadini originari, ‘original citizens’ of thecity.1 Of the two, the younger brother Giovanni was themore self-effacing, and in this sense, at least, conformedmore absolutely to the presiding cultural value of medi-ocritas, which promoted society and state over individualaccomplishment. If Gentile had worked abroad for sultan Mehmed ii in Constantinople and sometimessigned himself as ‘knight’ on his paintings, Giovanni re-mained quite comfortably in his brother’s shadow.2

He made his name producing modest half-lengthpaintings of the Madonna and Child. These were rela-tively small-scale works intended primarily for devotionalpurposes within the home and were more usually asso-ciated with the less successful painters in Venice knownas ‘Madonneri’.3 Giovanni quickly transformed the stand-ing of the Madonna and Child as a subject and expandedhis range into more high-profile and large-scale paintingtypes, such as the altarpiece and the istoria, or ‘history’painting. But his career remained relatively narrowlyfocussed on the needs of local patrons. Though Giovanniwas exempted from paying dues to the Venetian painter’sguild in 1483, this was not necessarily an attempt to distance himself from the local community of painters.It reflected the Venetian state’s attempt to help him fulfil

their constant demand for official portraits, votive paint-ings and histories.4 Like his brother, Giovanni’s latercareer was dominated by the production of large-scalepaintings for major Venetian public buildings and insti-tutions: that is, for the state, the lay religious brother hoodsknown as the Scuole, and the Church.

The narrow geographical parameters of Giovanni’scareer may have owed more to his Venetian identity andideology than to lack of opportunities for expansion.When Isabella d’Este, marchesa of the Gonzaga court,approached Giovanni for a contribution to her studiolo,or study, in the Ducal Palace at Mantua, the painterproved less than willing to supply a painting followingher instructions.5 And it seems that even when Giovannidid provide a painting for a foreign court very late inhis career, for Isabella’s brother Alfonso d’Este, Dukeof Ferrara, his work proved not to be to his patron’s taste(illus. 38).6 As we shall see, Titian’s career proves a sharpcontrast: it developed around his ability to form congenialrelationships with leading courtly rulers and their families,and his related capacity to anticipate their artistic tastes.But he often argued with local patrons. Giovanni, on the contrary, focussed his attention on the home marketand seems to have felt that local commissions offeredhim more room for creative manoeuvre. In a letter of1506, his friend, the poet Pietro Bembo, informed theirritated Isabella that he liked ‘to wander at will’ in hispaintings rather than to follow detailed prescriptionsfrom his patrons. Seen as an expression of Giovanni’s‘Venetianness’, or venezianità, his assumption of a right

c h a p t e r on e

Art as Appropriation: The Rise of Titian*

Confronted by a rival . . . Titian responded by engorging him(Richard Wollheim, Painting as an Art, 1987)


to creative licence appears as an artistic analogue to aleading political virtue of Venice itself. Freedom was,after all, a key concept within the so-called ‘myth ofVenice’ and was perhaps the primary way in which theRepublic defined itself in ideological terms against theoppression or ‘tyranny’ of the courts.7

By the final decade of the fifteenth century Giovanniran one of the largest and most successful workshops inItaly; his growing fame and professional prominencewas, in part at least, dependent on the range and extentof his activity as a teacher with many pupils. Giovanniand his brother were particularly renowned among Italianartists and humanist intellectuals for their teaching ofperspective in the workshop, which was understood asa quasi-scientific topic and therefore as a key elementin the training of young artists.8 In 1506 the visitingGerman artist Albrecht Dürer, whose interest in thenew ‘science’ of art is well documented, firmly identifiedGiovanni as the best painter in Venice.9 But as a portraitdrawing by a devoted pupil, Vittore Belliniano, shows,the old master’s professional identity hardly changed inlater life (illus. 7). Sensitive as the drawing is, it revealsrelatively little about Giovanni as an individual, picturinghim as a dutiful master and faithful civil servant ratherthan an inspired genius.10 Belliniano’s drawing contrastsa little with the portrait that Giovanni himself made ofhis older brother, which hints at Gentile’s more expansiveinternational and personal profile (illus. 8). Yet evenGentile is shown in the traditional public dress of thecittadino originario.11 At his death in 1516, Giovanni wasburied in simple fashion alongside his brother in thepremises of a cittadini-dominated confraternity, the Scuoladi Sant’Orsola, a building decorated by Gentile’s follower,Vittore Carpaccio. This was perhaps a final act of self-repressing mediocritas, seeming to reassert his original roleas the junior member of the family despite the fact thathe was widely recognized as having outstripped his olderbrother in the field of painting.12

Bellini and Titian: Master and PupilAmong Titian’s early works there are surprisingly fewthat continue or develop the type of the half- or three-quarter-length Madonna and Child for which GiovanniBellini had become renowned. Indeed, there is remark-ably little reference to Bellini’s work per se, a strikingfact given that the young painter was certainly a pupilin the old master’s workshop.13 The young Titian, whoquickly became enamoured with the work of the elusiveGiorgione, is never overtly ‘anti-Bellinesque’. But fromthe outset he makes clear his difference, resisting theexpected formative impress of master on pupil. Titian’simmediate escape from his artistic ‘father’, his dis-avowal of the conventional bond between old andyoung formed in the workshop immediately limits thecommon idea that he simply inherited the values of theVenetian tradition through his training.14 Titian’s breakwith the past was enacted through the transitional figureof Giorgione, a slightly older contemporary in Bellini’sshop, much of whose work offered a kind of poeticwithdrawal from the civic-minded culture of the oldergeneration. The extent of Giorgione’s influence overthe young painter has led some to argue that Titian was his pupil, though there is little evidence to supportthis idea.15 But Giorgione might nonetheless have actedas surrogate master or artistic father figure, perhapsmediating the antagonism between Bellini and Titian.Whatever the case, it seems that referencing the picto-rial innovations of the ultra-modern Giorgione allowedTitian to distance himself with unusual rapidity from thepredominant and established mode of Bellini, quicklysetting this into the past and making it appear outdatedand ‘traditional’.

Titian’s Virgin and Child, known as The Gypsy Madonna,is unusual among his early paintings in its clear deriva-tion from the type that Bellini had made his own inVenice (illus. 9 and 10).16 The presence of an earlierversion beneath the one now visible, which is closer stillto Bellini’s painting (now in the Detroit Institute ofArts), indicates that the work of his master was Titian’sfirst point of reference. As Titian worked on the canvas,

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however, he remade Bellini’s work in accordance withhis own very different artistic principles. Titian’s admis-sion of sensuous elements into the traditionally separateand timeless space reserved for a Bellini Madonna is noticeable. In both paintings the drapery of the Virgin’ssleeve overlaps with the landscape beyond. But in Bellinia symbolic royal blue is used, the expensive pigmentlapis lazuli conferring a kind of absolute value on theQueen of Heaven and maintaining a point of sacreddistinction from the broken, worldly tones in the land-scape. In Titian’s Gypsy Madonna, by contrast, the tra-ditional blue is dramatically lightened so that it is veryclose to the tone of the mountains and sky beyond,

suggesting a more immediate connection between theMadonna and the natural world.

The billowing folds of the drapery of the sleeve inTitian’s work appear exaggerated, spreading out acrossthe picture surface beyond the enclosure of the Clothof Honour hanging behind the holy figures, to connectthe sacred and secular sides of the painting while alsorecalling the expensive fabrics beloved of noblewomenin early sixteenth-century Venice but criticized by theauthorities.17 New points of connection with the realitybeyond the painting are, then, opened up by Titian’spainting of the Virgin’s sleeve, soon to be explored fur-ther in early portraits such as the Portrait of a Man (illus.

21

Art as Appropriation: The Rise of Titian

9 Giovanni Bellini, Virgin and Child, 1509. Detroit Institute of Arts.


27). But the non-canonical lightening of this blue sleeveis also part of the new priority given to broad areas oflight and dark within the composition. Great pools ofshadow engulf certain areas of the composition (muchof the landscape, the area around the Virgin’s righthand, the whole space to the right of Christ), taking theemphasis away from more literal details of surface ortexture. Just as the sleeve is lightened, so the Virgin her-self is darkened: Titian’s dark-eyed, dark-haired anddark-skinned Virgin would have been felt as a dramaticmove away from Bellini’s pale brunettes that still sug-gest their heritage from Byzantine icons.18 Particularlynoticeable is the way Titian enlarges the pupils andirises of his Virgin so that the whites of her eyes almostdisappear. Her full face – which nonetheless does not runto the fleshiness of the matronly sitter in the portrait of the same year known as La Schiavona (illus. 29) –suggests a corporeal presence still undreamed of inBellini’s austere Madonna.

The same kind of worldly remaking of the Bellinimodel is evident in the posture of the Christ Child. In

the Detroit painting Bellini makes a forward referenceto another sacred iconography, as he had done manytimes before in his Madonnas: his confidently uprightchild is a forerunner of the Resurrected Christ, oftenpictured standing on his tomb. In Titian, on the otherhand, there is a new measure of informality suggestedby his apparent lack of awareness of the viewer. Christdoes not raise his hand in the orthodox gesture of blessing,and there is instead a new emphasis on the soft and vari-able surfaces of his flesh, allowing for distinctions betweenhardness and softness in the toes, knees, thighs and belly.His gesture, touching the Virgin’s garment, is made slightand meaningless, the turning of his head a matter ofmomentary infantile distraction. Instead of referencingother paintings or iconographies, Christ’s slight move-ment – the outward sway of his hips caused by thecontrasting relaxation and tension of the legs – recallsthe naturalistic contrapposto of an antique putto. Releasedfrom the momentousness of his own future narrative,Titian’s Christ is, for the time being, part of this world.If Bellini enjoyed referencing future aspects of the Passion

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10 Titian, Virgin and Child(\e Gypsy Madonna), c. 1511. KunsthistorischesMuseum, Vienna.


power that is distinct – an immediacy of narrative gestureor action that breaks away from the Giorgionesque dream-land. In other early works too, Titian’s adoption of thewarm buff tonality and generalizing brushstroke ofGiorgione is counteracted by areas of intense local coloura-tion and the vibrant elaboration of surface texture. Thepredominance of large figures over settings already evidentin the Padua frescos is another signal of Titian’s immediatedifference from Giorgione.43

In works such as The Three Philosophers, The Tempest andIl Tramonto (The Sunset, illus. 19), Giorgione had set myste-rious figures into landscapes that combine generic referenceto the so-called terra firma (the area of Venetian territoryinland from the city) with an element of idealism recallingthe Arcadian settings of contemporary and classical pastoralpoetry. In both The Tempest and Il Tramonto, the scale of thefigures is reduced so that the landscape itself predomi-nates.44 Even if these figures continue to provide clues tothe meaning of the paintings, their small scale makes thisambiguous. This ‘veiling’ of the subject’ seems to havebeen quite intentional, perhaps feeding a new taste for

open-ended or ‘poetic’ pictorial imagery among a sophis-ticated circle of patrician patrons in Venice.45

Even at his most Giorgionesque the young Titiangives his figures added visual prominence and three-dimensionality, organizing his compositions aroundmoments of intense interchange between the leadingprotagonists. In very early works such as Christ and theAdulterous Woman now in Glasgow, which probably datesfrom before 1510, passages of Giorgionesque intro spectionand stillness compete uncomfortably with sudden figuralmovements and heightened emotional responses (illus.18).46 Within four or five years, Titian had more thor-oughly absorbed the older master’s prompt ings into hisown idiom, such that in The Three Ages of Man and Noli metangere the potential conflicts are smoothed away (illus.20, 21). Titian’s figures occupy evocative Giorgion -esque landscapes featuring rolling pastures interspersedwith woody copses, openings to distant buildings andblue-and-gold horizons. But these settings are cast in asupportive role, offering symbolic or visual echoes ofthe wider meaning of the image as articulated in the

31


18 Titian, Christ and the Adulterous Woman, c. 1508–9.Kelvingrove Art Galleryand Museum, Glasgow.


19 Giorgione, \e Sunset (Il Tramonto), c. 1506. NationalGallery, London.

20 Titian, \e \ree Ages of Man,c. 1513. National Gallery ofScotland, Edinburgh.


21 Titian, Noli me tangere, c. 1513–14. National Gallery, London.


powerful interaction between the main actors in the foreground.47

In The Three Ages of Man the enlarged and brightly litfigures of the young man and woman absorbed in eachother’s desirous gaze provides the main visual focus, theintimations of their past and future given elsewhere inthe picture finally made subject to the passionate sensualintensity of the present moment.48 The traditional titleimplies that this is a Giorgionesque allegory concerningthe cycle of human life, as is partially confirmed by asixteenth-century inventory in which the painting isdescribed simply as ‘representing love and death’.49 Butthe careful depiction of the lovers makes them somethingmore than mere personifications. The muscularity of the near-naked youth may again betray Titian’s studyof Michelangelo, but translation of the idealizing source(a seated nude in the foreground of the Battle of Cascinacartoon, illus. 22) back into a naturalistic artistic languageis as thorough as that noted in The Miracle of the JealousHusband.50 And this is taken further still in the figure ofthe young woman who lies in his lap, her hairstyle anddress identifying her as a contemporary of early six-teenth-century Venice. The loose tumble of her blondhair on to the exposed flesh of her neck and shoulders,like her revealing décolletage and suggestive postureholding phallic pan pipes, introduces an intensity oferotic interaction not matched in Giorgione.51

In the Noli me tangere, Titian transfers the Giorgion -esque mode to a devotional painting with ease, reab-sorbing (with characteristic self-confidence) its secular

aspects into a sacred schema. If in the Three Ages of Manspecific objects with symbolic overtones (pipes, dead tree,skulls, church) are dotted through the composition tosuggest a wider allegorical meaning, in the London paint-ing the entire structure of the landscape is made depend-ent on the interrelationship of the foreground figures.There may still be a frisson of erotic tension between thetwo protagonists, yet as the kneeling Magdalene reachesout to touch Christ’s body he swings away from her, gathering his robes about him in a movement of piousretraction. Her crouching form and his swaying one aremirrored in the shapes of the low bushes and tree be-hind them, and it may be that the latter defines a moregeneral boundary between sacred and secular within thepainting. The contemporary-looking farm buildings on the Magdalene’s side of the work are contrasted with the grazing flocks and intense blues (both with heavenlyassociations) that predominate on Christ’s.

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23 Giorgione, Portrait of an Old Woman (Col Tempo), c. 1508. Gallerie dell ’Accademia, Venice.

22 Aristotile da Sangallo, after Michelangelo’s fresco of \e Battle ofCascina, 1542. Holkham Hall, Norfolk.


Giorgione and Titian’s Early PortraitureGiorgione was also an important figure in Titian’s liber-ation from the restricted corporate and documentaryfunctions of the Venetian portrait in the Bellinesque tradition.52 In works such as the Portrait of an Old Woman(Col tempo) and Laura Giorgione had rendered the entireconcept of the type problematic, for it remains unclearwhether these really are ‘portraits’ in the conventionalsense (illus. 23, 24). They are very unlikely to have beencommissioned by the sitters or their families, and thoughthey appear to represent specific people they were clearlyintended to convey meanings beyond those of themerely descriptive. Despite (or perhaps because of ) theseambiguities, these works are more freelyexpressive of the sitter’s individuality andpersonality than earlier Venetian portraits.In the case of Col tempo, the image of the old woman is presented as a perhapsless-than-sympathetic study of old age,with a moralizing memento mori held upby the sitter for the viewer’s edification.In Laura, the erotic intimacy of the sitter’srevealing gesture, with fur lifted to exposethe analogous softness of breast and nip-ple, challenges her more abstract identityas poetic muse or the personification ofpoetry.53

The Giorgionesque habit of allowing‘portraits’ to carry wider allegorical, eroticor esoteric meanings showed well enoughthat this picture type could function as a vehicle for creative invention. Presentedas original and suggestive ‘works of art’these paintings acquire a new culturalvalue quite independent of their outwardcommitment to recording a likeness. Thenew subjectivity suggested in these worksis developed precisely through the obscur-ing of the sitter’s identity, at least insofaras this was traditionally defined throughoutward position in the social order of

Venice. It is no coincidence that Giorgione’s mostgroundbreaking works of this type feature women, whoplayed a role strictly circumscribed in public and officialculture.54 But a similarly private domain is implied forhis male sitters, who take on a delicate, feminizedappearance that gives notice of a departure from theconventionally masculine space of Venetian portraiture(illus. 25).55

This earlier conception had, once again, been definedprimarily by the Bellini family. Jacopo, Gentile andGiovanni Bellini painted very few portraits of women,but they had developed a popular type for Venetian menthat owed a discernible debt to the group portraits featured in their large-scale istorie for the Doge’s Palace

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24 Giorgione, Laura, 1506. Kunsthistorisches Museum, Vienna.


25 Giorgione, Portrait of a Man, c. 1505. Gemäldegalerei, Berlin.


and the meeting houses of the Scuole. Giovanni Belliniin particular made a number of portraits of young patricians, who probably sat for him at the time of theiradmission to the ruling Great Council of Venice at theage of 25 (illus. 26).56 These works represent the pointof passage into public life rather than defining the possibility of withdrawal from it. They show the young sitters in bust length, proudly dressed in their official

regalia – senatorial robes, stole and cap. Their distantgaze directed beyond the viewer, like the setting againsta blue backdrop with heavenly associations, suggests inspired yet muscular readiness to take up the patrioticand divinely sanctioned cause of the Republic. InGiorgione’s Portrait of a |oung Man, on the other hand, thesitter glances directly at us; the turn of his eyes awayfrom the direction of his head, like the delicate shadows

37


26 Giovanni Bellini, Portrait of a |oungSenator, c. 1485–7. Museo Civico, Padua.


27 Titian, Portrait of a Man (Gerolamo Barbarigo?), c. 1513. National Gallery, London.


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acheiropoieta 61, 62Agatone, Giovanni Francesco 181Alberti, Leon Battista, 60, 69, 80, 103, 161, 193

De pictura 23, 25Alexander vi, Pope 70Amberger, Christoph 96Ancona 77–8Andros 53anonymous, Portrait Medallion of Titian and his Son Orazio 120, 163,

167–9, 131Antico (Pier Jacopo Alari Bonacolsi) 72

Apollo 59Antonello da Messina 59, 67, 83Antony of Padua, St 25Apelles 153, 163Apollo 147–8, 204–5Apollo Belvedere 72, 60Ardenti, Agostino

Portrait Medal of Titian and his Son Orazio 120, 163, 167, 132Aretino, Pietro 12, 161, 179, 181

L’umanità di Cristo 105and Eupompos 153as Pontius Pilate in Titian’s Ecce Homo 105as privileged outsider in Venice 105–6as the ‘scourge of princes’ 113–15

Ariosto, Ludovico 115Aristotle 13, 64, 163

Poetics 144Arte dei Depentori 55 and see Titian and painter’s guildAugsburg 110, 117, 166Averoldi, Altobello 72–4

Badile, Antonio (iv) 174Bartholomew, St 147Bartolommeo, Fra 48

Study for the Worship of Venus 50–51, 41Bassano, Francesco 11, 184Bassano, Jacopo 11, 176

and workshop, The Purification of the Temple 183–4, 145, 146Bassano, Leandro

Portrait of Jacopo Bassano 176, 184, 142

Bellini, Gentile 12, 19–20, 35, 60, 70, 160–61Procession in St Mark’s Square 23–5, 123, 13

Bellini, Giovanni 13, 19–23, 30, 35–7, 59–61, 70, 83, 121, 155, 157,160, 179–80Doge Leonardo Loredan 83–4, 112, 66Pietà 61, 42Portrait of Gentile Bellini 20, 8Portrait of a Young Senator 37, 83, 26San Giobbe altarpiece 7–8, 59, 64–9, 51Submission of Frederick Barbarossa (destr.) 57, 157The Assassination of St Peter Martyr 50, 40The Feast of the Gods 47–8, 50, 54–5, 121, 35, 45Virgin and Child 20–23, 9Virgin and Child with SS. Augustine and Mark and Doge Agostino

Barbarigo 70, 54as cittadino originario of Venice 121medal of 161–2workshop of 172

Bellini, Jacopo 19, 23, 35Perspective drawing 23, 11St John the Baptist Preaching 23–4, 12

Belliniano, Vittore (Vittore di Matteo) 162Portrait of Giovanni Bellini 20, 7

Belting, Hans 61, 63Bembo, Pietro 19, 117Blaise, St 77Bologna 95–7Bonenfant, Antoine

Titian with his Courtesan 148Bonifazio dei Pitati 81Bordone, Paris 81, 167Borgia, Cesare 70Boschini, Marco 67–9, 175

Breve Istruzione 151–2Brescia 24, 72, 169Britto, Giovanni

After a Self-portrait by Titian 162–3, 178, 127Burckhardt, Jacob 94

The Civilization of the Renaissance in Italy 87Burgkmair, Hans

Emperor Maximilian i on Horseback 110

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Cadore 15, 19, 167, 171Camelio (Vittore di Antonio Gambello)

Portrait Medal of Giovanni Bellini 161–2, 125Campagnola, Domenico 167Capello, Vincenzo 113Cariani, Giovanni

The Seduction 185, 149Caroto, Giovanni 174Carpaccio, Vittore 20, 30, 179, 190

The Presentation of the Virgin 121, 99Carracci, Agostino

Engraved Portrait of Titian 166Castiglione, Baldassare 90

Il Cortegiano 90, 94, 150concept of sprezzatura in 90, 94, 150Raphael and Titian portraits of 95

Catena, Vincenzo 55, 158–9Cavalcaselle, Giovanni Battista 153Celso, St 73–4Charles v, Holy Roman Emperor 95–9, 110–12, 130, 158, 162,

166as Alexander the Great 163

Clement vii, Pope 96Clovio, Giulio 175Colleoni, Bartolomeo 85Colonna, Francesco

Hypnerotomachia Poliphili 46–7, 50, 37Como 79Constantinople 12, 19Correggio, Antonio 152Council of Trent 81Crete 174Crowe, Joseph Archer 153

Damisch, Hubert 23d’Anna, Giovanni 105d’Avalos, Alfonso 96, 110Dente, Girolamo 167Della Rovere, Guidobaldo ii, Duke of Urbino 176Dolce, Ludovico 59–60, 67, 103, 179, 199

Dialogo della pittura 13–14, 117–18, 123, 159–61Dominican Order 79–80Donà, Leonardo 85Donatello 25Dossi, Dosso 48Dürer, Albrecht 20

Knight, Death and the Devil 110, 91Dyck, Anthony van 155

El Escorial 171Erasmus, Desiderius

Enchiridion militis Christiani 110Este, Alfonso d’ 19, 47–8, 50, 54, 74, 150Este, Isabella d’ 19, 48, 51, 117Eupompos 153

Farnese, Alessandro 140, 175Ferrante, Francesco 110Ferrara 23, 54, 86

Camerino d’Alabastro 47–9, 51, 54, 150Fialetti, Odoardo, 195

Il vero modo et ordine per dissegnar tutte le parti et membra del corpo humano 196, 158

Florence 85, 181maniera painting in 130tradition of artistic disegno in 12, 155

Fontana, GiulioThe Battle of Spoleto (after Titian) 124, 98

Francia, Francesco 117Franciscan Order 9, 11

Gauricus, Pomponius 23Gell, Alfred 59Giambono, Michele 123Giorgione 13, 20, 30–43, 51, 59, 61, 80, 94, 125, 155

Laura 35, 43, 24Portrait of a Young Man 37–9, 85, 88, 25The Three Philosophers 31The Tempest 31The Sunset (Il Tramonto) 31, 19Old Woman (Col Tempo) 35, 23Self-portrait as David (lost) 162, 126Sleeping Venus (and Titian) 43–6, 32, 33

Giotto 29, 60 Marriage of the Virgin 25–7, 15

Giovio, Paolo 106Gothic polyptychs 67Gozzi, Alvise 77–8Greco, El (Doménikos Theotokópoulos) 169, 177, 193–4, 139, 140

Giulio Clovio 175The Purification of the Temple 174–5, 183

Gritti, Andrea, Doge 87, 157

Hegel, Georg 87Hellespontine Sibyl 8Herculaneum 144Holanda, Francesco de 130–31Hollar, Wenceslaus

After a Self-portrait by Giorgione 162, 126Horace 136, 150

Isabella of Portugal, Empress 117, 158

Jerome, St 7–8, 201–3John, St (the Evangelist) 125, 127

Laocoön and his Sons 51, 72–4, 57Leonardo da Vinci 104, 124

Christ Carrying the Cross 63, 49Leoni, Leone

Michelangelo as Blind Beggar 203, 163Portrait Medal of Titian 161–2, 124

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Libro d’oro 10Lombardo, Antonio

The Forge of Vulcan 51, 42Lombardo, Pietro 67Loredan, Leonardo Doge 88Loth, Carlo

The Death of St Peter Martyr (after Titian) 79–81, 65Lotis 50, 54Lotto, Lorenzo 29, 81, 159–60, 180

Madonna of Mercy (Misericordia) 7, 166Madonneri 19Mantegna, Andrea 25, 51, 99Mantua 19, 86, 148Mantua, Ducal Palace

Camera Picta in 99Gabinetto dei Cesari in 99studiolo in 48, 51Gonzaga of 86, 99

Marcus Aurelius on Horseback 90Mark, St 70Marsyas 147, 204–5Mary of Hungary, Queen 150Massa, Nicolò

Facile est inventis addere 152Maurice, St 70Maximilian i, Holy Roman Emperor 110Maximilian ii, Holy Roman Emperor 181Medici, Duke Cosimo i de’ 150, 181Mehmed ii, Sultan 12, 19Michelangelo Buonarroti 13, 30, 60, 72, 75, 79, 117, 130–31, 152,

175, 193, 195, 203Battle of Cascina (Aristotile da Sangallo after) 34, 22Fall of Man 27–9, 17Giuliano de’ Medici 85, 104, 83Lorenzo de’ Medici 85Moses 105, 115, 166, 93Pietà 7–12, 15–16, 201–3, 3Rebellious Slave 72, 75, 58criticism of Flemish art 130–31criticism of Titian 119, 130–31, 139, 163, 193and Giotto 25hostility to portraiture 85, 92, 104, 117late style of 131obsequies at death of 12

Milan 99Monet, Claude 153Moses 8, 151, 202Mühlberg, Battle of 110Murano

S. Maria degli Angeli 158

Naples 50Nazaro, St 73Nicodemus 9

Omnia vincit Amor 192Order of the Golden Fleece 96Ovid

Fasti 50Metamorphoses 134, 144Ovide moralisé 144

Padua 24–5Scuola del Santo 24

Palladio, Andrea 195Palma, Antonio 175Palma Giovane 11, 15–16, 154, 193, 194–5, 199

Monument to Titian and Palma Giovane 15, 175–6, 5Palma Vecchio 15, 55–7, 175

The Holy Family with SS. Catherine and John the Baptist (and Titian) 55–7, 180, 46

Panofsky, Erwin 23, 169Parmigianino (Girolamo Francesco Maria Mazzola) 152Pastorini, Pastorino (de’)

Portrait Medal of Titian 162, 166Pérez, Antonio 127, 152Perugino, Pietro 51Pesaro 176Pesaro, Jacopo 69–72, 77Pesaro, Lunardo 72, 110Peter, St 70, 147Peter Martyr, St 79–80Philip ii, King of Spain 99, 117, 120, 127, 134, 136, 143–4, 146,

150, 188, 195Philostratus

Imagines 50Piero della Francesca 67Pino, Paolo

Dialogo di pittura 159–60Pittoni, Battista

Imprese di diversi principi 118–19, 96Pliny the Elder

Natural History 152Pompeii 144Pordenone (Giovanni Antonio de’ Sacchis) 158, 160, 180portraits at court 84–5Poussin, Nicolas 201Priapus 50Propertius 61Protestant Reformation 80punctum / studium 23

Rangone, Tommaso 85Raphael 29, 48, 60, 64, 78, 88, 106, 152, 160–61, 175, 188

Baldassare Castiglione 95, 71Madonna di Foligno 77, 62St Paul Preaching in Athens 106

Rembrandt van Rijn 153, 201Reynolds, Sir Joshua 201Riario, Raffaele 72Ridolfi, Carlo 9, 11–12, 154, 174, 184

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Le maraviglie dell’arte 15Life of Tintoretto 195

Roch, St 73Romano, Giulio 99

The Flaying of Marsyas 148, 123Vision of the Cross (detail) 106, 88

Rome 72, 74, 77, 86–7, 105–6, 119, 130, 139, 155, 162, 166, 175Borghese Collection in 185maniera painting in 130Marcus Aurelius equestrian statue in 110Sistine Chapel 30Vatican, Sala del Costantino 106Vatican stanze 29, 160

Rota, MartinoThe Death of St Peter Martyr (after Titian) 78–81, 64

Rovere, Guidobaldo della 46Rubens, Peter Paul 155, 201

Charles v after Titian 95–6, 74Ruskin, John 59

Sadeler, AegidiusJulius Caesar after Titian 99–104, 81Nero after Titian 99–104, 82

Salis, Jacopo de’ 24Sansovino, Jacopo 105–6, 115, 174, 188Santa Maura, Lefkada, Greece 70Sanudo, Marin 88Sarcinelli, Cornelio 11Schiavone, Andrea 155, 181Schmalkaldic League 110Scrots, Guillim 117Sebastian, St 72–5Sebastiano del Piombo 160Seisenegger, Jakob 97

Charles v with a Hound 97, 117, 79Seneca 144Serlio, Sebastiano

Libri dell’architettura 193Seville

Alcázar 99Silenus 50Simon of Cyrene 131Sleeping Ariadne 36Stokes, Adrian 45Stoppio, Nicolò 181Strada, Jacopo 181–3Suavius iii, Lambert

Engraved portrait of Titian 166Sudeley Castle, Gloucestershire 185Suetonius

De vita Caesarum 99–104

Tebaldi, Jacopo 184Theseus 52Tintoretto, Domenico 195Tintoretto, Jacopo 81, 84, 155, 157, 160, 175, 179, 181, 192–7

Self-portrait (Paris) 193, 155Self-portrait (Philadelphia) 193, 154Virgin and Child with SS. Sebastian, Mark and Theodore Adored by

Three Camerlenghi 84, 67criticism of Titian 196identification with Michelangelo 195importance of drawing in workshop of 195–7nickname and Venetian identity of 193–5and pictorial space 193successful workshop of 194–7and Titian 192–7

Tintoretto, Jacopo, and workshopLast Supper 195, 156Nativity 195, 157Paradise 195

Tintoretto, Marco 195Tintoretto, Marietta 195Titian

Alfonso d’Avalos 96–7, 110, 75Allegory of Prudence 169, 171, 175, 133Antonio Anselmi 95Bacchus and Ariadne 49, 51–4, 121, 135, 138, 161, 44Baldassare Castiglione 95, 73Battle of Spoleto (destr.) 30, 71, 123–4, 157, 179–80, 98Caesars (destr.) 99–105, 117Charles v (lost) 95–6, 99, 113, 158Charles v on Horseback 110, 89Charles v with a Hound 97, 117, 78Christ and the Adulterous Woman 31, 18Christ Carrying the Cross (Venice) 61–3, 134, 48Christ Carrying the Cross (Madrid) 61–2, 131–4, 108Christ Carrying the Cross (St Petersburg) 61–2, 131–4, 109Crucifixion (with Orazio) 171, 134Danaë (Naples) 125, 130, 139–40, 113Danaë (Madrid) 125, 132, 139–40, 145, 150, 114Daniele Barbaro 95Diana and Actaeon 134, 138, 141–6, 151, 190, 117, 118Diana and Callisto 134, 141–6, 151, 119Doge Andrea Gritti 112–15, 166, 92Doge Francesco Donà (lost) 115Doge Francesco Venier 115, 94Ecce Homo 105–6, 117, 84Federico Gonzaga 88, 94–5, 70Flora 43–4, 88, 185, 30, 34Francesco Maria della Rovere, Duke of Urbino 96–7, 113, 117, 76Friend of Titian 95Jacopo Strada 181–3, 144Laura dei Dianti 95–6Man of Sorrows (Dublin) 128, 131, 107Man of Sorrows (Madrid) 128, 103Man with a Glove 90, 94–5, 72Martyrdom of St Lawrence 140Mater Dolorosa 128, 106Mater Dolorosa with Hands Apart 128, 105Mater Dolorosa with Hands Clasped 128, 104Miracle of the Jealous Husband 27–30, 34, 16

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Miracle of the Sleeping Babe 24–7, 30, 40, 14, 28Noli me tangere 31–4, 135, 21Perseus and Andromeda 134, 140, 145, 116Pesaro Madonna 11, 56, 69–72, 77, 79, 81, 110, 140, 188, 201, 53Prince Philip 99, 150, 80Pietà 7–13, 15–16, 147, 168, 175, 201–3, 1, 2, 160, 161Pietro Aretino (Frick) 105, 85Pietro Aretino (Uffizi) 105, 113–15, 150, 166, 86Pietro Bembo 117Portrait of a Young Man 88, 68Portrait of a Young Man (‘Man with a Blue Sleeve’) 21–2, 39, 88, 27Portrait of a Woman (‘La Schiavona’) 22, 40, 88, 29Presentation of the Virgin 56, 105, 123–4, 127, 130, 97Resurrection polyptych 72–7, 56Self-portrait (Berlin) 163, 166, 174, 176, 182, 128Self-portrait (lost) 162Self-portrait (lost: see under Giovanni Britto) 162–3, 166, 127Self-portrait (Madrid) 163, 167, 176, 129Self-portrait with portrait of Philip ii (lost) 120, 166, 168Sleeping Venus (and Giorgione) 43–5, 125, 135, 180Study for Francesco Maria della Rovere, Duke of Urbino 97, 77St James Major 81St Jerome 202–3, 162St John Almsgiver 81St John the Baptist 81St Mary Magdalene (Pitti) 125, 135, 111St Mary Magdalene (St Petersburg) 125, 135, 110St Peter Enthroned with Jacopo Pesaro Presented by Pope Alexander vi

70, 55Submission of Frederick Barbarossa (destr.) 57, 157The Allocution of Alfonso d’Avalos 106–110, 87The Andrians 49, 51–4, 121, 135, 43The Annunciation 158The Assumption of the Virgin 11, 16, 59–60, 64–70, 78, 81, 160,

192, 202, 50, 52The Damned Men 150The Death of Actaeon 140, 146, 148, 153, 121The Death of St Peter Martyr (destr.) 55, 78–81, 123, 136, 140,

64, 65The Descent of the Holy Spirit (lost) 158The Entombment (Paris) 125–7, 143, 100The Entombment (Madrid, 1559) 125–7, 140,151, 101The Feast of the Gods (and Giovanni Bellini) 47–50, 54, 38, 45The Flaying of Marsyas 140, 146–9, 153, 181, 204–5, 122, 164The Holy Family with SS. Catherine and John the Baptist (and Palma

Vecchio) 55–7, 46The Rape of Europa 134, 138, 142–5, 188–90, 120The Three Ages of Man 31–4, 141, 169, 20The Worship of Venus 48–51, 121, 135, 39Tommaso de’ Mosti 88–95, 69Venus Anadyomene 43Venus and Adonis 134, 138, 140–41, 150, 190–92, 115Venus with an Organist and Dog 125, 135–6, 142, 205, 112Venus of Urbino 45–7, 95, 125, 135, 142, 205, 35Vincenzo Capello 113Virgin and Child (‘Gypsy Madonna’) 20–23, 44, 10

Virgin and Child with SS. Francis and Blaise and Alvise Gozzi 77–8, 125, 61, 63

altarpieces by 7–12, 64–81, 201–4 anachronic aspects in the style of 59–64, 123–34androgynous quality of sitters in 88as Apelles 153, 163and Aretino 105–8, 113–15, 180–81avarice of 180–84, 204–5belle donne portraits of 43, 88, 185burial of 10and Byzantine art 63–4and Central Italian art 29–30, 60, 64, 79, 110, 130–31, 155,

161and Charles v 95–9, 110, 112, 117, 130, 158, 162–3, 168classical art and classicism 43, 45, 50–54, 72–7, 106–10,

132–49, 161–3colouration and role of black and white in 88–95contrast between disguised and undisguised 201–5as courtly performance 149–50, 155courtly values in 88–95, 111–15critical responses to the 149–55devotional works by 127–34as divino artista in the 8, 151, 161, 201–4donor portraits in 70–72, 74, 77–8, 166–7dowry of 159drapery painting in 43–5and drawing 173, 193–5and the crisis in Venetian painting 199–201family of 11, 157–9, 167–73and Flemish painting 117, 130–34and Gentile Bellini 12, 160and Giorgione 30–46, 55, 125, 160and Giovanni Bellini 7–8, 19–23, 30, 47–50, 54, 59–61,

121, 157, 160–62idealization, rejuvenation and revivification in 99–115,

117–18impact of Counter-Reformation on 127, 130imperial style of and reference to history painting in 99–115impresa of 118–20, 130, 205income and wealth of 158–9and the international Baroque 200–01and Jacopo Bassano 12, 176,183–5and Jacopo Tintoretto 160, 192–7as St Jerome in 8, 201–3knighthood of 97–9, 121, 162, 168late style of 9, 14, 57, 119, 123–55and Ludovico Dolce 13–4, 117–18, 159–61and Michelangelo 9, 27–30, 34, 72–3, 85, 104, 115, 117, 119–20, 130–31, 163, 203as King Midas in 204–5mythological paintings of 43–54, 134–49, 188–92and the paragone 9, 30, 40, 51, 75, 117and the painter’s guild 12–13, 55 and see Arte dei Depentorias performance of old age 155and Philip ii 99, 150, 166, 168, 171

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physiognomic and pathognomic approaches in 103–4and pictorial space 25–7, 39–40, 49–50, 60, 64–72, 79, 193poesie 134–46, 181, 188, 190, 192and Pordenone 158, 160, 180portraiture of 13, 35–43, 83–121prices of 97, 158and religious icon painting 60–64, 127–34ricordi 125, 131, 166in Rome 105, 119and the sansaria 30, 71, 157–8, 179and the scuole dell’arte 159and the Scuole Piccole 159and Scuola di S. Pietro Martire 158and Scuola Grande di S. Rocco 158and Sebastiano del Piombo 160self-portraiture of 8, 161–7, 169, 201–5social origins of sitters in 86–7stylistic self-reference and repetition in works of 123–34as ‘Tradition’ 123–34, 155, 173–9, 199–201and Venetian patrons 9–10, 30, 121, 157–9, 180–81, 186–7and Veronese 174–5, 187–92viewer response to paintings of 44–5, 61–2, 64–72, 80–81,

94, 131–4and Violante 184visual spolia and bricolage in 64, 123as works of artistic invention 117–21workshop and pupils of 124, 167–73, 187

Titian and workshopThe Entombment (Madrid, c. 1562–72) 125–7, 130, 134, 140,

152, 102Titian workshop

Empress Isabella of Portugal 117, 95Madonna della Misericordia with the Family of Titian 166, 130The Descent of the Holy Spirit 158

Tizianello Breve compendio della vita di Tiziano 15

Urbino 86, 95ut pictura poesis 136, 150

Vargas, Francisco de 152, 163Varotari, Alessandro (Il Padovanino) 176

Self-portrait with a Bust of Titian(?), 141Vasari, Giorgio 9, 12, 13–14, 54, 61, 83, 85, 119, 130–31, 134, 149–

51, 158, 160–61, 169Lives of the Artists 13, 160Monument to Michelangelo 10, 12

Vecchia, Pietro dellaPortrait of Titian 178, 143disegno 12–13, 67, 75, 118, 130–31, 155, 159, 163, 184, 194

Vecellio family 167Cesare 167, 171Francesco 167Gregorio 167Lavinia (Sarcinelli) 159, 185Marco 167, 169, 171, 199

SS. Anthony Abbot, Lucy and Mary Magdalene 173, 123Orazio 8, 11, 120, 157–8, 166–73, 201

Crucifixion 171, 134SS. John the Baptist, Catherine and Lucy 171–2, 135The Battle of Castel Sant’Angelo 169as greedy 181paintings in S. Biagio, Calalzo di Cadore 171receives the sansaria 157–8, 168Titian’s Habsburg pension transferred to 172

Pomponio 11, 169Tiziano see Titian

Velázquez, Diego 155, 201Venetian art

altarpieces in 7–8, 19, 59, 64–72, 81, 188 anti-Titian imagery in 179–85colore and colorito in 13–14, 118, 159–60Counter-Reformation in 183, 188depictions of the Doge in 112–15end of Renaissance tradition in 199–201fresco painting in 30history painting in 19, 23–4, 57, 83, 123impact of Flemish art on 130importance of drawing and perspective in 14, 20, 23–5, 193,

196–7pictorial space in 23–5, 69–72, 193portraiture in 35–7, 83–7pro-Titian imagery in 173–9Republican values in 70, 84–5, 158, 161–2, 178, 186–7, 200ristauro in 57rivalry and competition in 186–7

Venetian SchoolTitian with his Courtesan 185, 147

Veneziano family 67Venice

cittadini originari in 19–20, 84, 123cultural politics of mediocritas in 10, 19–20, 84–6, 115, 197Ghetto in 62giovane or case nuove in 85papalisti in 86–7, 113–15patrician caste of 10, 70, 83–7position of women in 35Provveditore alle Pompe 88salaries in 158social status of artists in 12tomb monuments in 10Virgin in 77

Venice, churches inS. Angelo 11S. Francesco della Vigna 188S. Giorgio Maggiore 195S. Giovanni e Paolo 15–16, 78–80S. Maria Gloriosa dei Frari 10–11, 64–7, 69–70, 78, 201–03St Mark’s Basilica 78S. Spirito in Isola 158S. Zaccaria 10

Venice, scuole in 19, 35

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Scuola Grande della Carità 123, 131Scuola Grande di S. Giovanni Evangelista 24Scuola Grande di S. Rocco 62, 134, 158Scuola di S. Orsola 20Scuola di S. Pietro Martire 55, 78, 81, 158

Venice, state buildings inBiblioteca Marciana 174Doge’s Palace 30, 35, 123, 157–8, 180, 194 Fondaco dei Tedeschi 160Venus Genetrix 43, 148, 31

Venus Pudica 43Verdizzotti, Giovanni Mario 174Verona 175, 188Veronese, Paolo 81, 174–5, 199

Diana and Actaeon 190Holy Family with SS. John the Baptist, Anthony Abbot and Catherine

(‘The Giustiniani Altarpiece’) 188, 150The Marriage at Cana 174, 137, 138The Rape of Europa 190, 152St Sebastian Altarpiece 188, 151Venus and Adonis 190–92, 153and Raphael 188and Titian 174, 188–92

Veronica (picture type) 62Vico, Giambattista 152–3Virgo Orans 64Vittoria, Alessandro

Monument to Alessandro Vittoria 10, 4Vivarini, Alvise 60Vivarini family 67

War of the League of Cambrai 70, 88Wölfflin, Heinrich 13, 45

Zandomeneghi, Luigi and PietroMonument to Titian 16, 6

Zuccaro, Federico 157

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titian and the end of the venetian renaissance · 2013. 12. 12. · giovanni bellini: the model...

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