Titian's works are his attempt to represent the unruly supernatural forces of the ancient world and the strife they inflict on human beings, which remain as relevant as ever. Titian, Diana and Actaeon by HENI Talks
The female nude emerged as a genre in the Renaissance. Titian, Venus of Urbino by Dr. James R. Jewitt
In the distance, lightning strikes. What does it mean? Poetic and evocative, this painting invites interpretation. Giorgione, The Tempest by Dr. James R. Jewitt
Two portraits capture the ambition and impudence of Titian's close friend and publicist. Titian, two portraits of Pietro Aretino by Dr. Lorenza Smith
As it recesses, Tintoretto’s strange space collapses time. No wonder Saint Mark multiplies. Jacopo Tintoretto, The Finding of the Body ... by Dr. Beth Harris and Dr. Steven Zucker
This personal image was destined for Titian’s tomb, but he may also appear in it as St. Jerome. Titian and Jacopo Palma il Giovane, Pietà by Dr. Steven Zucker and Dr. Beth Harris
Here, everything is askew. Form dissolves as Tintoretto unites Florentine line with Venetian color. Jacopo Tintoretto, Last Supper by Dr. Beth Harris and Dr. Steven Zucker
Veronese described himself as a painter of figures. Judging by the throng depicted here, he clearly enjoyed it. Paolo Veronese, Feast in the House of ... by Dr. Beth Harris and Dr. Steven Zucker
This painting was once criticized for its loose, open brushwork—a hallmark of Tintoretto’s style we now admire. Jacopo Tintoretto, The Miracle of the Slave by Dr. Beth Harris and Dr. Steven Zucker
Titian’s depth of color and vivid illumination hold our attention, while Mary and Christ move apart and divide it. Titian, Madonna of the Pesaro Family by Dr. Beth Harris and Dr. Steven Zucker
Following the outstretched arms of the apostles, we look up to Mary and arrive at a circle of light. Titian, Assumption of the Virgin by Dr. Steven Zucker and Dr. Beth Harris
These three learned men differ in age, outlook, and dress. But do they represent religions, eras, or philosophies? Giorgione, Three Philosophers by Dr. Beth Harris and Dr. Steven Zucker
Opting for shadow over light, Titian frees himself—and future generations—from the Renaissance demand for clarity. Titian, Christ Crowned with Thorns by Dr. Beth Harris and Dr. Steven Zucker
Quiet and meditative, two kneeling shepherds set the painting’s tone—and allow the viewer to join them in worship. Giorgione, The Adoration of the Shepherds by Dr. Heather Horton and Dr. Mark Trowbridge
With her open mouth, tilted head, and soft flesh, Io exudes sensuality, giving herself up willingly to Jupiter. Correggio, Jupiter and Io by Dr. Beth Harris and Dr. Steven Zucker
Who are all these people? As it turns out, confusion is just part of the narrative—as is observation. Paolo Veronese, The Family of Darius before Alexander by Dr. Steven Zucker and Dr. Beth Harris
Jupiter swoops down and brings Hercules to nurse at Juno’s breast. The milk that spurts up creates the Milky Way. Jacopo Tintoretto, The Origin of the Milky Way by Dr. Steven Zucker and Dr. Beth Harris
Don’t touch me! Titian’s ghostly Christ evades Mary Magdalene’s reach—and escapes her searching gaze. Titian, Noli me Tangere by Dr. Steven Zucker and Dr. Beth Harris
Cool greens and warm golds meld on this seductive canvas. The great swirls of paint were a model for later artists. Paolo Veronese, The Dream of Saint Helena by Dr. Steven Zucker and Dr. Beth Harris
The design for this Roman-inspired auditorium wed Palladio’s antiquarian knowledge with his artistic innovation. Palladio, Teatro Olimpico by Dr. Jimena Berzal de Dios