Two portraits capture the ambition and impudence of Titian's close friend and publicist.
Titian
This canvas was rolled, varnished, reworked, and revised again. A classical scene, it once hung in a study.
Giovanni Bellini and Titian,The Feast of the ...
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
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
Following the outstretched arms of the apostles, we look up to Mary and arrive at a circle of light.
Titian, Assumption of the Virgin
Opting for shadow over light, Titian frees himself—and future generations—from the Renaissance demand for clarity.
Titian, Christ Crowned with Thorns
Don’t touch me! Titian’s ghostly Christ evades Mary Magdalene’s reach—and escapes her searching gaze.
Titian, Noli me Tangere
The female nude emerged as a genre in the Renaissance. With her soft, sensual flesh, this Venus is a prime example.
Titian, Venus of Urbino
Opposites attract? In this mythological love story, colors clash, bodies twist, and actions conflict.
Titian, Bacchus and Ariadne
This landscape may be ideal, but it’s far from smooth. Playing with oil paint, Titian roughens the surface.
Titian, Pastoral Concert
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