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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.
Titian had to execute two or three large pictures, which should represent Tantalus, [a] Sisyphus and Tityus. [ b ] Two of them were painted in the first half of 1549; for they already adorned the Great Hall of the Summer Palace of Binche , for which the Queen evidently had destined them, in the August of the same year when Philip was her guest ...
The version now in Madrid's Museo del Prado is generally agreed to be the earliest of the surviving versions. Although not certainly documented until 1626, [11] it is generally regarded as the painting documented as despatched to King Philip II of Spain in London (he was then married to Mary Tudor, and in fact not yet King of Spain, but King of England) by Titian in September 1554, as ...
Bacchus and Ariadne (1522–1523) [1] is an oil painting by Titian.It is one of a cycle of paintings on mythological subjects produced for Alfonso I d'Este, Duke of Ferrara, for the Camerino d'Alabastro – a private room in his palazzo in Ferrara decorated with paintings based on classical texts.
Titian paintings on display in the Museo del Prado (from left to right: Danaë and the Shower of Gold, The Worship of Venus, The Bacchanal of the Andrians, and Venus and Adonis) This incomplete list of works by Titian contains representative portraits and mythological and religious works from a large oeuvre that spanned 70 years. (Titian left ...
The composition has elements also found in the works of Titian's former master or colleague Giorgione, an immensely influential Venetian painter who died very young in 1510, but the painting is generally agreed to show that Titian's own style had developed into a maturity that allows no confusion with his old rival. While many works of the ...
Detail with Actaeon and nymphs. The painting depicts the seminal scene from the second story in book three of the Roman poet Ovid’s Metamorphoses.In the poem, Actaeon, grandson of Cadmus, calls off his friends after a successful hunt due to hot weather and inadvertently wanders off into the valley of Gargaphia, the sacred realm of Diana, the goddess of the hunt.
The Assumption of Mary was a Catholic doctrine that remained optional in the early 16th century; it was not declared an article of faith until 1950.The Franciscan order whose church the Frari is, were always keen promoters of this and other aspects of Marian theology, in particular the related doctrine of the Immaculate Conception of Mary, then still a matter of live controversy.