Titian's Touch by Maria H. Loh

Author:Maria H. Loh
Language: eng
Format: epub
Publisher: Reaktion Books

Come sole frà picciole stelle . . . The world created by this sun among tiny stars was so vivid that not only nature but truth itself (la verità in the Italian original) was left behind. This chapter will explore the constellation of things that appear in Titian’s art.

As the painter approached the middle of the sixteenth century, his production would be marked by the expansion of his patronage circles to the papal and imperial courts of Rome, Augsburg and Madrid and by an increased reliance upon his workshop as the requests for paintings came flooding in. He was called to Bologna at the end of 1532 to paint the portrait of Emperor Charles V, whom he first met in 1529 and would meet again in Milan in 1541, in Busetto in 1543 and in Augsburg in 1548 and 1550; this period of intense travel would also include in 1545 his only trip to Rome.2 A seemingly endless train of Farnese and Habsburg portraits were churned out. Grander inventions were recycled, repurposed and reinvented. The first section of this chapter will touch upon the Venus and Adonis (see illus. 54); the final will consider the Danaë Receiving the Golden Rain (see illus. 65). Both istorie or poesie (to use Titian’s term) were painted in a first instance for Cardinal Alessandro Farnese, the grandson of Pope Paul III, and subsequently for Philip II, the son of the Habsburg Emperor Charles V. Everyone, it seems, wanted a little corner in the sun.

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