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The Cupid and part of the relief. Sacred and Profane Love (Italian: Amor Sacro e Amor Profano) is an oil painting by Titian, probably painted in 1514, early in his career. The painting is presumed to have been commissioned by Niccolò Aurelio, a secretary to the Venetian Council of Ten, whose coat of arms appears on the sarcophagus or fountain ...
Flaying of Marsyas. The Flaying of Marsyas is a painting by the Italian late Renaissance artist Titian, probably painted between about 1570 and his death in 1576, when in his eighties. It is now in the Archbishop's Palace in Kroměříž, Czech Republic and belongs to the Archbishopric of Olomouc (administered by Olomouc Museum of Art ...
Grisaille, while less widespread in the 20th century, persists as an artistic technique. Pablo Picasso's painting Guernica (1937) stands as a prominent example. Contemporary American painter Hugo Bastidas has become known for black-and-white paintings that imitate the effect of grisaille and often resemble black-and-white photographs. His ...
1511. Type. Fresco. Dimensions. 340 cm × 207 cm (130 in × 81 in) Location. Scuola del Santo, Padua. The Miracle of the Jealous Husband is a fresco by the Italian Renaissance master Titian, executed in 1511 as part of the decoration of the Scuola del Santo in Padua, northern Italy. [1]
A composition of Venus and Adonis by the Venetian Renaissance artist Titian has been painted a number of times, by Titian himself, by his studio assistants and by others. In all there are some thirty versions that may date from the 16th century, the nudity of Venus undoubtedly accounting for this popularity. [1]
Medium. Oil on canvas. Dimensions. 100 cm × 89 cm (39 in × 35 in) Location. Musée du Louvre, Paris. Man with a Glove (French: L'Homme au Gant) is an oil-on-canvas portrait by the Italian Renaissance artist Titian, painted c. 1520. [1] It is part of the collections of the Musée du Louvre, Paris. [2]
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La Bella. La Bella is a portrait of a woman by Titian in the Palazzo Pitti in Florence. The painting shows the subject with the ideal proportions for Renaissance women. [1] In parallel the stringent composition corresponds to Titian's real portraits. The work can be dated by a letter about "that portrait of that woman in a blue dress" in May 1536.