artmirc-Cufarul cu Diamante...-TIZIANO Vecellio~(1490 +1576) _partea 1_2015-_TIZIANO
Vecellio(b. 1490, Pieve di Cadore, +d. 1576, Venezia)_The greatest PAINTER of the Venetian School. The evidence for his birthdate is contradictory, but he was certainly very old when he died. He was probably a pupil of Giovanni Bellini, and in his early work he came under the spell of Giorgione, with whom he had a close relationship. In 1508 he assisted him with the external fresco decoration of the Fondaco dei Tedeschi, Venice, and after Giorgione's early death in 1510 it fell to Titian to complete a number of his unfinished paintings. The authorship of certain works (some of them famous) is still disputed between them.
Titian's first major independent commission was for three frescoes on the life of St Antony of Padua in the Scuola del Santo, Padua (1511), noble and dignified paintings suggesting an almost central Italian firmness and monumentality. When he returned to Venice, Giorgione having died and Sebastiano having gone to Rome, the aged Bellini alone stood between him and supremacy, and that only until 1516 when Bellini died and Titian became official painter to the Republic. He maintained his position as the leading painter in the city until his death sixty years later.
In the second decade of the century Titian broke free from the stylistic domination of Giorgione and developed a manner of his own. Something of a fusion between Titian's worldliness and Giorgione's poetry is seen in the enigmatic allegory known as Sacred and Profane Love (Borghese Gallery, Rome, c. 1515), but his style soon became much more dynamic. This work inaugurated a brilliant period in Titian's creative career during which he produced splendid religious, mythological, and portrait paintings, original in conception and vivid with colour and movement.
The work that more than any other established his reputation is the huge altarpiece of The Assumption of the Virgin (Santa Maria dei Frari, Venice, 1516-18). It is the largest picture he ever painted and one of the greatest, matching the achievements of his most illustrious contemporaries in Rome in grandeur of form and surpassing them in splendour of colour. The soaring movement of the Virgin, rising from the tempestuous group of Apostles towards the hovering figure of God the Father looks forward to the Baroque. Similar qualities are seen in his two most famous altarpieces of the 1520s: the Pesaro altarpiece (Santa Maria dei Frari, Venice, 1519-26), a bold diagonal composition of great magnificence, and The Death of St Peter Martyr (completed 1530), which he painted for the church of SS. Giovanni e Paolo, Venice, having defeated Palma Vecchio and Pordenone in competition for the commission. The painting was destroyed by fire in 1867, but it is known through copies and engraving; trees and figures together form a violent centrifugal composition suited to the action, and Vasari described it as 'the most celebrated, the greatest work... that Titian has ever done'.
Titian was recognized as a towering genius in his own time (Lomazzo described him as the 'sun amidst small stars not only among the Italians but all the painters of the world') and his reputation as one of the giants of art has never been seriously questioned. He was supreme in every branch of painting and his achievements were so varied - ranging from the joyous evocation of pagan antiquity in his early mythologies to the depths of tragedy in his late religious paintings that he has been an inspiration to artists of very different character. Poussin, Rubens, and Velázquez are among the painters who have particularly revered him. In many subjects, above all in portraiture, he set patterns that were followed by generations of artists. His free and expressive brushwork revolutionized the oil technique: Vasari wrote that his late works 'are executed with bold, sweeping strokes, and in patches of colour, with the result that they cannot be viewed from near by, but appear perfect at a distance... The method he used is judicious, beautiful, and astonishing, for it makes pictures appear alive and painted with great art, but it conceals the labour that has gone into them.' His greatness as an artist, it appears, was not matched by his character, for he was notoriously avaricious. In spite of his wealth and status, he claimed he was impoverished, and his exaggerations about his age (by which he hoped to pull at the heartstrings of patrons) are one of the sources of confusion about his birthdate. Jacopo Bassano caricatured him as a moneylender in his Purification of the Temple (National Gallery, London). Titian, however, was lavish in his hospitality towards his friends, who included the poet Pietro Aretino and the sculptor and architect Jacopo Sansovino. These three were so close that they were known in Venice as the triumvirate, and they used their influence with their respective patrons to further each other's careers.

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