Titian and the End of the Venetian Renaissance

Transcription

001_017_Titian_Intro_ROB 17/09/2013 15:17 Page 1
titian and the end of the venetian renaissance
TITIAN
and the end of the Venetian Renaissance
Tom Nichols
reaktion books
For Kerr¥
Published by
reaktion books ltd
33 Great Sutton Street
London
ec1v 0dx, uk
www.reaktionbooks.co.uk
Copyright © Tom Nichols 2013
All rights reserved
No part of this publication may be reproduced, stored in a retrieval system,
or transmitted, in any form or by any means, electronic, mechanical, photocopying,
recording or otherwise, without the prior permission of the publishers.
Printed and bound in China by C&C OΩset Printing Co., Ltd
British Library Cataloguing in Publication Data
isbn 978 1 78023 186 0
CONTENTS
*
Introdu±ion
Titian’s Last Painting: The Sight of Death 7 – An Inglorious Passing; or,
The Difficult Case of the Pietà 9 – How ‘Venetian’ was Titian? 12
Surrogate Monuments to the Leader of a Tradition 15
one: Art as Appropriation: The Rise of Titian
Giovanni Bellini: The Model Venetian 19 – Bellini and Titian: Master and Pupil 20
Titian and the Venetian Istoria 23 – Titian and Giorgione 30 – Giorgione and Titian’s Early
Portraiture 35 – The Early Mythologies 43 – Titian Repaints Palma Vecchio 55
two: Remaking Tradition: Icons and Altarpieces
Anachronic Titian 59 – The Modern Icon 60 – The Cultural Dynamics of Space
in Two Altarpieces for Venice 64 – Private Values in a Public Picture Type 72
Altarpiece or Artwork? 78
three: Portraiture and Non-venezianità
Portraiture in Renaissance Venice 83 – Titian’s Portraits to 1530: Accommodation
of the Courts 87 – Habsburg and Related Portraits of the 1530s 95
Historical Portraits 99 – Natura Potentior Ars 117
four: Sacred Painting, the Poesie and the Late Style
Titian as Tradition 123 – Titian’s Hybrid Poesie 134 – Two Late Mythologies 146
Early Responses to Titian’s Late Style 149 – The Late Style in Critical and
Historical Perspective 153
five: Titian and Venice: Surviving the Father of Art
Patrons and Prices 157 – Titian versus the Rest: A Literary Self-image 159
Pictor et eques: Titian’s Self-portraits 161 – Images of Succession 167 – Images of
Attachment 173 – The Darker Side of Titian; or, The Anti-image 179
Venetian Responses to Titian: Veronese and Tintoretto 186
Conclusion
Titian and the End of the Venetian Renaissance 199 – Titian in Disguise 201
references 207
bibliograph\ 238
acknowledgements 247
photo acknowledgements 248
index 249
1 Titian, Pietà, c. 1570–76. Gallerie dell’Accademia, Venice.
6 Luigi Zandomeneghi and Pietro Zandomeneghi, Monument to Titian, 1838–52, marble. S. Maria Gloriosa dei Frari, Venice.
018_057_Titian_Ch 1_ROB 17/09/2013 15:31 Page 18
7 Vittore Belliniano, Portrait of Giovanni Bellini, charcoal, wash and bistre
on paper, 1505. Musée Condé, Chantilly.
8 Giovanni Bellini, Portrait of Gentile Bellini, c. 1496, charcoal on paper.
Kupferstichkabinett, Staatliche Museen, Berlin.
chapter one
Art as Appropriation: The Rise of Titian
*
Confronted by a rival . . . Titian responded by engorging him
(Richard Wollheim, Painting as an Art, 1987)
Giovanni Bellini: The Model Venetian
When Titian arrived in the metropolis of Venice from
the remote mountain village of Cadore around 1500,
painting was dominated by two local artists, the brothers Gentile and Giovanni Bellini. They were the sons of
Jacopo Bellini, the leading master in Venice in the
decades before his death in 1471, and had inherited his
social status as cittadini originari, ‘original citizens’ of the
city.1 Of the two, the younger brother Giovanni was the
more self-effacing, and in this sense, at least, conformed
more absolutely to the presiding cultural value of mediocritas, which promoted society and state over individual
accomplishment. If Gentile had worked abroad for
sultan Mehmed ii in Constantinople and sometimes
signed himself as ‘knight’ on his paintings, Giovanni remained quite comfortably in his brother’s shadow.2
He made his name producing modest half-length
paintings of the Madonna and Child. These were relatively small-scale works intended primarily for devotional
purposes within the home and were more usually associated with the less successful painters in Venice known
as ‘Madonneri’.3 Giovanni quickly transformed the standing of the Madonna and Child as a subject and expanded
his range into more high-profile and large-scale painting
types, such as the altarpiece and the istoria, or ‘history’
painting. But his career remained relatively narrowly
focussed on the needs of local patrons. Though Giovanni
was exempted from paying dues to the Venetian painter’s
guild in 1483, this was not necessarily an attempt to
distance himself from the local community of painters.
It reflected the Venetian state’s attempt to help him fulfil
their constant demand for official portraits, votive paintings and histories.4 Like his brother, Giovanni’s later
career was dominated by the production of large-scale
paintings for major Venetian public buildings and institutions: that is, for the state, the lay religious brotherhoods
known as the Scuole, and the Church.
The narrow geographical parameters of Giovanni’s
career may have owed more to his Venetian identity and
ideology than to lack of opportunities for expansion.
When Isabella d’Este, marchesa of the Gonzaga court,
approached Giovanni for a contribution to her studiolo,
or study, in the Ducal Palace at Mantua, the painter
proved less than willing to supply a painting following
her instructions.5 And it seems that even when Giovanni
did provide a painting for a foreign court very late in
his career, for Isabella’s brother Alfonso d’Este, Duke
of Ferrara, his work proved not to be to his patron’s taste
(illus. 38).6 As we shall see, Titian’s career proves a sharp
contrast: it developed around his ability to form congenial
relationships with leading courtly rulers and their families,
and his related capacity to anticipate their artistic tastes.
But he often argued with local patrons. Giovanni, on
the contrary, focussed his attention on the home market
and seems to have felt that local commissions offered
him more room for creative manoeuvre. In a letter of
1506, his friend, the poet Pietro Bembo, informed the
irritated Isabella that he liked ‘to wander at will’ in his
paintings rather than to follow detailed prescriptions
from his patrons. Seen as an expression of Giovanni’s
‘Venetianness’, or venezianità, his assumption of a right
19
titian
to creative licence appears as an artistic analogue to a
leading political virtue of Venice itself. Freedom was,
after all, a key concept within the so-called ‘myth of
Venice’ and was perhaps the primary way in which the
Republic defined itself in ideological terms against the
oppression or ‘tyranny’ of the courts.7
By the final decade of the fifteenth century Giovanni
ran one of the largest and most successful workshops in
Italy; his growing fame and professional prominence
was, in part at least, dependent on the range and extent
of his activity as a teacher with many pupils. Giovanni
and his brother were particularly renowned among Italian
artists and humanist intellectuals for their teaching of
perspective in the workshop, which was understood as
a quasi-scientific topic and therefore as a key element
in the training of young artists.8 In 1506 the visiting
German artist Albrecht Dürer, whose interest in the
new ‘science’ of art is well documented, firmly identified
Giovanni as the best painter in Venice.9 But as a portrait
drawing by a devoted pupil, Vittore Belliniano, shows,
the old master’s professional identity hardly changed in
later life (illus. 7). Sensitive as the drawing is, it reveals
relatively little about Giovanni as an individual, picturing
him as a dutiful master and faithful civil servant rather
than an inspired genius.10 Belliniano’s drawing contrasts
a little with the portrait that Giovanni himself made of
his older brother, which hints at Gentile’s more expansive
international and personal profile (illus. 8). Yet even
Gentile is shown in the traditional public dress of the
cittadino originario.11 At his death in 1516, Giovanni was
buried in simple fashion alongside his brother in the
premises of a cittadini-dominated confraternity, the Scuola
di Sant’Orsola, a building decorated by Gentile’s follower,
Vittore Carpaccio. This was perhaps a final act of selfrepressing mediocritas, seeming to reassert his original role
as the junior member of the family despite the fact that
he was widely recognized as having outstripped his older
brother in the field of painting.12
Bellini and Titian: Master and Pupil
Among Titian’s early works there are surprisingly few
that continue or develop the type of the half- or threequarter-length Madonna and Child for which Giovanni
Bellini had become renowned. Indeed, there is remarkably little reference to Bellini’s work per se, a striking
fact given that the young painter was certainly a pupil
in the old master’s workshop.13 The young Titian, who
quickly became enamoured with the work of the elusive
Giorgione, is never overtly ‘anti-Bellinesque’. But from
the outset he makes clear his difference, resisting the
expected formative impress of master on pupil. Titian’s
immediate escape from his artistic ‘father’, his disavowal of the conventional bond between old and
young formed in the workshop immediately limits the
common idea that he simply inherited the values of the
Venetian tradition through his training.14 Titian’s break
with the past was enacted through the transitional figure
of Giorgione, a slightly older contemporary in Bellini’s
shop, much of whose work offered a kind of poetic
withdrawal from the civic-minded culture of the older
generation. The extent of Giorgione’s influence over
the young painter has led some to argue that Titian
was his pupil, though there is little evidence to support
this idea.15 But Giorgione might nonetheless have acted
as surrogate master or artistic father figure, perhaps
mediating the antagonism between Bellini and Titian.
Whatever the case, it seems that referencing the pictorial innovations of the ultra-modern Giorgione allowed
Titian to distance himself with unusual rapidity from the
predominant and established mode of Bellini, quickly
setting this into the past and making it appear outdated
and ‘traditional’.
Titian’s Virgin and Child, known as The Gypsy Madonna,
is unusual among his early paintings in its clear derivation from the type that Bellini had made his own in
Venice (illus. 9 and 10).16 The presence of an earlier
version beneath the one now visible, which is closer still
to Bellini’s painting (now in the Detroit Institute of
Arts), indicates that the work of his master was Titian’s
first point of reference. As Titian worked on the canvas,
20
9 Giovanni Bellini, Virgin and Child, 1509. Detroit Institute of Arts.
however, he remade Bellini’s work in accordance with
his own very different artistic principles. Titian’s admission of sensuous elements into the traditionally separate
and timeless space reserved for a Bellini Madonna is
noticeable. In both paintings the drapery of the Virgin’s
sleeve overlaps with the landscape beyond. But in Bellini
a symbolic royal blue is used, the expensive pigment
lapis lazuli conferring a kind of absolute value on the
Queen of Heaven and maintaining a point of sacred
distinction from the broken, worldly tones in the landscape. In Titian’s Gypsy Madonna, by contrast, the traditional blue is dramatically lightened so that it is very
close to the tone of the mountains and sky beyond,
suggesting a more immediate connection between the
Madonna and the natural world.
The billowing folds of the drapery of the sleeve in
Titian’s work appear exaggerated, spreading out across
the picture surface beyond the enclosure of the Cloth
of Honour hanging behind the holy figures, to connect
the sacred and secular sides of the painting while also
recalling the expensive fabrics beloved of noblewomen
in early sixteenth-century Venice but criticized by the
authorities.17 New points of connection with the reality
beyond the painting are, then, opened up by Titian’s
painting of the Virgin’s sleeve, soon to be explored further in early portraits such as the Portrait of a Man (illus.
21
titian
10 Titian, Virgin and Child
(\e Gypsy Madonna),
c. 1511. Kunsthistorisches
Museum, Vienna.
27). But the non-canonical lightening of this blue sleeve
is also part of the new priority given to broad areas of
light and dark within the composition. Great pools of
shadow engulf certain areas of the composition (much
of the landscape, the area around the Virgin’s right
hand, the whole space to the right of Christ), taking the
emphasis away from more literal details of surface or
texture. Just as the sleeve is lightened, so the Virgin herself is darkened: Titian’s dark-eyed, dark-haired and
dark-skinned Virgin would have been felt as a dramatic
move away from Bellini’s pale brunettes that still suggest their heritage from Byzantine icons.18 Particularly
noticeable is the way Titian enlarges the pupils and
irises of his Virgin so that the whites of her eyes almost
disappear. Her full face – which nonetheless does not run
to the fleshiness of the matronly sitter in the portrait
of the same year known as La Schiavona (illus. 29) –
suggests a corporeal presence still undreamed of in
Bellini’s austere Madonna.
The same kind of worldly remaking of the Bellini
model is evident in the posture of the Christ Child. In
the Detroit painting Bellini makes a forward reference
to another sacred iconography, as he had done many
times before in his Madonnas: his confidently upright
child is a forerunner of the Resurrected Christ, often
pictured standing on his tomb. In Titian, on the other
hand, there is a new measure of informality suggested
by his apparent lack of awareness of the viewer. Christ
does not raise his hand in the orthodox gesture of blessing,
and there is instead a new emphasis on the soft and variable surfaces of his flesh, allowing for distinctions between
hardness and softness in the toes, knees, thighs and belly.
His gesture, touching the Virgin’s garment, is made slight
and meaningless, the turning of his head a matter of
momentary infantile distraction. Instead of referencing
other paintings or iconographies, Christ’s slight movement – the outward sway of his hips caused by the
contrasting relaxation and tension of the legs – recalls
the naturalistic contrapposto of an antique putto. Released
from the momentousness of his own future narrative,
Titian’s Christ is, for the time being, part of this world.
If Bellini enjoyed referencing future aspects of the Passion
22
power that is distinct – an immediacy of narrative gesture
or action that breaks away from the Giorgionesque dreamland. In other early works too, Titian’s adoption of the
warm buff tonality and generalizing brushstroke of
Giorgione is counteracted by areas of intense local colouration and the vibrant elaboration of surface texture. The
predominance of large figures over settings already evident
in the Padua frescos is another signal of Titian’s immediate
difference from Giorgione.43
In works such as The Three Philosophers, The Tempest and
Il Tramonto (The Sunset, illus. 19), Giorgione had set mysterious figures into landscapes that combine generic reference
to the so-called terra firma (the area of Venetian territory
inland from the city) with an element of idealism recalling
the Arcadian settings of contemporary and classical pastoral
poetry. In both The Tempest and Il Tramonto, the scale of the
figures is reduced so that the landscape itself predominates.44 Even if these figures continue to provide clues to
the meaning of the paintings, their small scale makes this
ambiguous. This ‘veiling’ of the subject’ seems to have
been quite intentional, perhaps feeding a new taste for
open-ended or ‘poetic’ pictorial imagery among a sophisticated circle of patrician patrons in Venice.45
Even at his most Giorgionesque the young Titian
gives his figures added visual prominence and threedimensionality, organizing his compositions around
moments of intense interchange between the leading
protagonists. In very early works such as Christ and the
Adulterous Woman now in Glasgow, which probably dates
from before 1510, passages of Giorgionesque introspection
and stillness compete uncomfortably with sudden figural
movements and heightened emotional responses (illus.
18).46 Within four or five years, Titian had more thoroughly absorbed the older master’s promptings into his
own idiom, such that in The Three Ages of Man and Noli me
tangere the potential conflicts are smoothed away (illus.
20, 21). Titian’s figures occupy evocative Giorgionesque landscapes featuring rolling pastures interspersed
with woody copses, openings to distant buildings and
blue-and-gold horizons. But these settings are cast in a
supportive role, offering symbolic or visual echoes of
the wider meaning of the image as articulated in the
18 Titian, Christ and the
Adulterous Woman, c. 1508–9.
Kelvingrove Art Gallery
and Museum, Glasgow.
31
19 Giorgione, \e Sunset (Il
Tramonto), c. 1506. National
Gallery, London.
20 Titian, \e \ree Ages of Man,
c. 1513. National Gallery of
Scotland, Edinburgh.
21 Titian, Noli me tangere, c. 1513–14. National Gallery, London.
titian
aspects into a sacred schema. If in the Three Ages of Man
specific objects with symbolic overtones (pipes, dead tree,
skulls, church) are dotted through the composition to
suggest a wider allegorical meaning, in the London painting the entire structure of the landscape is made dependent on the interrelationship of the foreground figures.
There may still be a frisson of erotic tension between the
two protagonists, yet as the kneeling Magdalene reaches
out to touch Christ’s body he swings away from her,
gathering his robes about him in a movement of pious
retraction. Her crouching form and his swaying one are
mirrored in the shapes of the low bushes and tree behind them, and it may be that the latter defines a more
general boundary between sacred and secular within the
painting. The contemporary-looking farm buildings on
the Magdalene’s side of the work are contrasted with
the grazing flocks and intense blues (both with heavenly
associations) that predominate on Christ’s.
22 Aristotile da Sangallo, after Michelangelo’s fresco of \e Battle of
Cascina, 1542. Holkham Hall, Norfolk.
powerful interaction between the main actors in the
foreground.47
In The Three Ages of Man the enlarged and brightly lit
figures of the young man and woman absorbed in each
other’s desirous gaze provides the main visual focus, the
intimations of their past and future given elsewhere in
the picture finally made subject to the passionate sensual
intensity of the present moment.48 The traditional title
implies that this is a Giorgionesque allegory concerning
the cycle of human life, as is partially confirmed by a
sixteenth-century inventory in which the painting is
described simply as ‘representing love and death’.49 But
the careful depiction of the lovers makes them something
more than mere personifications. The muscularity
of the near-naked youth may again betray Titian’s study
of Michelangelo, but translation of the idealizing source
(a seated nude in the foreground of the Battle of Cascina
cartoon, illus. 22) back into a naturalistic artistic language
is as thorough as that noted in The Miracle of the Jealous
Husband.50 And this is taken further still in the figure of
the young woman who lies in his lap, her hairstyle and
dress identifying her as a contemporary of early sixteenth-century Venice. The loose tumble of her blond
hair on to the exposed flesh of her neck and shoulders,
like her revealing décolletage and suggestive posture
holding phallic pan pipes, introduces an intensity of
erotic interaction not matched in Giorgione.51
In the Noli me tangere, Titian transfers the Giorgionesque mode to a devotional painting with ease, reabsorbing (with characteristic self-confidence) its secular
23 Giorgione, Portrait of an Old Woman (Col Tempo), c. 1508. Gallerie
dell ’Accademia, Venice.
34
Venice. It is no coincidence that Giorgione’s most
groundbreaking works of this type feature women, who
played a role strictly circumscribed in public and official
culture.54 But a similarly private domain is implied for
his male sitters, who take on a delicate, feminized
appearance that gives notice of a departure from the
conventionally masculine space of Venetian portraiture
(illus. 25).55
This earlier conception had, once again, been defined
primarily by the Bellini family. Jacopo, Gentile and
Giovanni Bellini painted very few portraits of women,
but they had developed a popular type for Venetian men
that owed a discernible debt to the group portraits
featured in their large-scale istorie for the Doge’s Palace
Giorgione and Titian’s Early Portraiture
Giorgione was also an important figure in Titian’s liberation from the restricted corporate and documentary
functions of the Venetian portrait in the Bellinesque
tradition.52 In works such as the Portrait of an Old Woman
(Col tempo) and Laura Giorgione had rendered the entire
concept of the type problematic, for it remains unclear
whether these really are ‘portraits’ in the conventional
sense (illus. 23, 24). They are very unlikely to have been
commissioned by the sitters or their families, and though
they appear to represent specific people they were clearly
intended to convey meanings beyond those of the
merely descriptive. Despite (or perhaps because of ) these
ambiguities, these works are more freely
expressive of the sitter’s individuality and
personality than earlier Venetian portraits.
In the case of Col tempo, the image of
the old woman is presented as a perhaps
less-than-sympathetic study of old age,
with a moralizing memento mori held up
by the sitter for the viewer’s edification.
In Laura, the erotic intimacy of the sitter’s
revealing gesture, with fur lifted to expose
the analogous softness of breast and nipple, challenges her more abstract identity
as poetic muse or the personification of
poetry.53
The Giorgionesque habit of allowing
‘portraits’ to carry wider allegorical, erotic
or esoteric meanings showed well enough
that this picture type could function as
a vehicle for creative invention. Presented
as original and suggestive ‘works of art’
these paintings acquire a new cultural
value quite independent of their outward
commitment to recording a likeness. The
new subjectivity suggested in these works
is developed precisely through the obscuring of the sitter’s identity, at least insofar
as this was traditionally defined through
outward position in the social order of 24 Giorgione, Laura, 1506. Kunsthistorisches Museum, Vienna.
35
25 Giorgione, Portrait of a Man, c. 1505. Gemäldegalerei, Berlin.
26 Giovanni Bellini, Portrait of a |oung
Senator, c. 1485–7. Museo Civico, Padua.
and the meeting houses of the Scuole. Giovanni Bellini
in particular made a number of portraits of young
patricians, who probably sat for him at the time of their
admission to the ruling Great Council of Venice at the
age of 25 (illus. 26).56 These works represent the point
of passage into public life rather than defining the
possibility of withdrawal from it. They show the young
sitters in bust length, proudly dressed in their official
regalia – senatorial robes, stole and cap. Their distant
gaze directed beyond the viewer, like the setting against
a blue backdrop with heavenly associations, suggests
inspired yet muscular readiness to take up the patriotic
and divinely sanctioned cause of the Republic. In
Giorgione’s Portrait of a |oung Man, on the other hand, the
sitter glances directly at us; the turn of his eyes away
from the direction of his head, like the delicate shadows
37
27 Titian, Portrait of a Man (Gerolamo Barbarigo?), c. 1513. National Gallery, London.
206_256_Titian_end__ROB_Layout 1 17/09/2013 16:09 Page 249
i n de x
*
acheiropoieta 61, 62
Agatone, Giovanni Francesco 181
Alberti, Leon Battista, 60, 69, 80, 103, 161, 193
De pictura 23, 25
Alexander vi, Pope 70
Amberger, Christoph 96
Ancona 77–8
Andros 53
anonymous, Portrait Medallion of Titian and his Son Orazio 120, 163,
167–9, 131
Antico (Pier Jacopo Alari Bonacolsi) 72
Apollo 59
Antonello da Messina 59, 67, 83
Antony of Padua, St 25
Apelles 153, 163
Apollo 147–8, 204–5
Apollo Belvedere 72, 60
Ardenti, Agostino
Portrait Medal of Titian and his Son Orazio 120, 163, 167, 132
Aretino, Pietro 12, 161, 179, 181
L’umanità di Cristo 105
and Eupompos 153
as Pontius Pilate in Titian’s Ecce Homo 105
as privileged outsider in Venice 105–6
as the ‘scourge of princes’ 113–15
Ariosto, Ludovico 115
Aristotle 13, 64, 163
Poetics 144
Arte dei Depentori 55 and see Titian and painter’s guild
Augsburg 110, 117, 166
Averoldi, Altobello 72–4
Badile, Antonio (iv) 174
Bartholomew, St 147
Bartolommeo, Fra 48
Study for the Worship of Venus 50–51, 41
Bassano, Francesco 11, 184
Bassano, Jacopo 11, 176
and workshop, The Purification of the Temple 183–4, 145, 146
Bassano, Leandro
Portrait of Jacopo Bassano 176, 184, 142
Bellini, Gentile 12, 19–20, 35, 60, 70, 160–61
Procession in St Mark’s Square 23–5, 123, 13
Bellini, Giovanni 13, 19–23, 30, 35–7, 59–61, 70, 83, 121, 155, 157,
160, 179–80
Doge Leonardo Loredan 83–4, 112, 66
Pietà 61, 42
Portrait of Gentile Bellini 20, 8
Portrait of a Young Senator 37, 83, 26
San Giobbe altarpiece 7–8, 59, 64–9, 51
Submission of Frederick Barbarossa (destr.) 57, 157
The Assassination of St Peter Martyr 50, 40
The Feast of the Gods 47–8, 50, 54–5, 121, 35, 45
Virgin and Child 20–23, 9
Virgin and Child with SS. Augustine and Mark and Doge Agostino
Barbarigo 70, 54
as cittadino originario of Venice 121
medal of 161–2
workshop of 172
Bellini, Jacopo 19, 23, 35
Perspective drawing 23, 11
St John the Baptist Preaching 23–4, 12
Belliniano, Vittore (Vittore di Matteo) 162
Portrait of Giovanni Bellini 20, 7
Belting, Hans 61, 63
Bembo, Pietro 19, 117
Blaise, St 77
Bologna 95–7
Bonenfant, Antoine
Titian with his Courtesan 148
Bonifazio dei Pitati 81
Bordone, Paris 81, 167
Borgia, Cesare 70
Boschini, Marco 67–9, 175
Breve Istruzione 151–2
Brescia 24, 72, 169
Britto, Giovanni
After a Self-portrait by Titian 162–3, 178, 127
Burckhardt, Jacob 94
The Civilization of the Renaissance in Italy 87
Burgkmair, Hans
Emperor Maximilian i on Horseback 110
249
titian
Cadore 15, 19, 167, 171
Camelio (Vittore di Antonio Gambello)
Portrait Medal of Giovanni Bellini 161–2, 125
Campagnola, Domenico 167
Capello, Vincenzo 113
Cariani, Giovanni
The Seduction 185, 149
Caroto, Giovanni 174
Carpaccio, Vittore 20, 30, 179, 190
The Presentation of the Virgin 121, 99
Carracci, Agostino
Engraved Portrait of Titian 166
Castiglione, Baldassare 90
Il Cortegiano 90, 94, 150
concept of sprezzatura in 90, 94, 150
Raphael and Titian portraits of 95
Catena, Vincenzo 55, 158–9
Cavalcaselle, Giovanni Battista 153
Celso, St 73–4
Charles v, Holy Roman Emperor 95–9, 110–12, 130, 158, 162,
166
as Alexander the Great 163
Clement vii, Pope 96
Clovio, Giulio 175
Colleoni, Bartolomeo 85
Colonna, Francesco
Hypnerotomachia Poliphili 46–7, 50, 37
Como 79
Constantinople 12, 19
Correggio, Antonio 152
Council of Trent 81
Crete 174
Crowe, Joseph Archer 153
Damisch, Hubert 23
d’Anna, Giovanni 105
d’Avalos, Alfonso 96, 110
Dente, Girolamo 167
Della Rovere, Guidobaldo ii, Duke of Urbino 176
Dolce, Ludovico 59–60, 67, 103, 179, 199
Dialogo della pittura 13–14, 117–18, 123, 159–61
Dominican Order 79–80
Donà, Leonardo 85
Donatello 25
Dossi, Dosso 48
Dürer, Albrecht 20
Knight, Death and the Devil 110, 91
Dyck, Anthony van 155
El Escorial 171
Erasmus, Desiderius
Enchiridion militis Christiani 110
Este, Alfonso d’ 19, 47–8, 50, 54, 74, 150
Este, Isabella d’ 19, 48, 51, 117
Eupompos 153
Farnese, Alessandro 140, 175
Ferrante, Francesco 110
Ferrara 23, 54, 86
Camerino d’Alabastro 47–9, 51, 54, 150
Fialetti, Odoardo, 195
Il vero modo et ordine per dissegnar tutte le parti et membra del corpo
humano 196, 158
Florence 85, 181
maniera painting in 130
tradition of artistic disegno in 12, 155
Fontana, Giulio
The Battle of Spoleto (after Titian) 124, 98
Francia, Francesco 117
Franciscan Order 9, 11
Gauricus, Pomponius 23
Gell, Alfred 59
Giambono, Michele 123
Giorgione 13, 20, 30–43, 51, 59, 61, 80, 94, 125, 155
Laura 35, 43, 24
Portrait of a Young Man 37–9, 85, 88, 25
The Three Philosophers 31
The Tempest 31
The Sunset (Il Tramonto) 31, 19
Old Woman (Col Tempo) 35, 23
Self-portrait as David (lost) 162, 126
Sleeping Venus (and Titian) 43–6, 32, 33
Giotto 29, 60
Marriage of the Virgin 25–7, 15
Giovio, Paolo 106
Gothic polyptychs 67
Gozzi, Alvise 77–8
Greco, El (Doménikos Theotokópoulos) 169, 177, 193–4, 139, 140
Giulio Clovio 175
The Purification of the Temple 174–5, 183
Gritti, Andrea, Doge 87, 157
Hegel, Georg 87
Hellespontine Sibyl 8
Herculaneum 144
Holanda, Francesco de 130–31
Hollar, Wenceslaus
After a Self-portrait by Giorgione 162, 126
Horace 136, 150
Isabella of Portugal, Empress 117, 158
Jerome, St 7–8, 201–3
John, St (the Evangelist) 125, 127
Laocoön and his Sons 51, 72–4, 57
Leonardo da Vinci 104, 124
Christ Carrying the Cross 63, 49
Leoni, Leone
Michelangelo as Blind Beggar 203, 163
Portrait Medal of Titian 161–2, 124
250
Index
Omnia vincit Amor 192
Order of the Golden Fleece 96
Ovid
Fasti 50
Metamorphoses 134, 144
Ovide moralisé 144
Libro d’oro 10
Lombardo, Antonio
The Forge of Vulcan 51, 42
Lombardo, Pietro 67
Loredan, Leonardo Doge 88
Loth, Carlo
The Death of St Peter Martyr (after Titian) 79–81, 65
Lotis 50, 54
Lotto, Lorenzo 29, 81, 159–60, 180
Padua 24–5
Scuola del Santo 24
Palladio, Andrea 195
Palma, Antonio 175
Palma Giovane 11, 15–16, 154, 193, 194–5, 199
Monument to Titian and Palma Giovane 15, 175–6, 5
Palma Vecchio 15, 55–7, 175
The Holy Family with SS. Catherine and John the Baptist (and
Titian) 55–7, 180, 46
Panofsky, Erwin 23, 169
Parmigianino (Girolamo Francesco Maria Mazzola) 152
Pastorini, Pastorino (de’)
Portrait Medal of Titian 162, 166
Pérez, Antonio 127, 152
Perugino, Pietro 51
Pesaro 176
Pesaro, Jacopo 69–72, 77
Pesaro, Lunardo 72, 110
Peter, St 70, 147
Peter Martyr, St 79–80
Philip ii, King of Spain 99, 117, 120, 127, 134, 136, 143–4, 146,
150, 188, 195
Philostratus
Imagines 50
Piero della Francesca 67
Pino, Paolo
Dialogo di pittura 159–60
Pittoni, Battista
Imprese di diversi principi 118–19, 96
Pliny the Elder
Natural History 152
Pompeii 144
Pordenone (Giovanni Antonio de’ Sacchis) 158, 160, 180
portraits at court 84–5
Poussin, Nicolas 201
Priapus 50
Propertius 61
Protestant Reformation 80
punctum / studium 23
Madonna of Mercy (Misericordia) 7, 166
Madonneri 19
Mantegna, Andrea 25, 51, 99
Mantua 19, 86, 148
Mantua, Ducal Palace
Camera Picta in 99
Gabinetto dei Cesari in 99
studiolo in 48, 51
Gonzaga of 86, 99
Marcus Aurelius on Horseback 90
Mark, St 70
Marsyas 147, 204–5
Mary of Hungary, Queen 150
Massa, Nicolò
Facile est inventis addere 152
Maurice, St 70
Maximilian i, Holy Roman Emperor 110
Maximilian ii, Holy Roman Emperor 181
Medici, Duke Cosimo i de’ 150, 181
Mehmed ii, Sultan 12, 19
Michelangelo Buonarroti 13, 30, 60, 72, 75, 79, 117, 130–31, 152,
175, 193, 195, 203
Battle of Cascina (Aristotile da Sangallo after) 34, 22
Fall of Man 27–9, 17
Giuliano de’ Medici 85, 104, 83
Lorenzo de’ Medici 85
Moses 105, 115, 166, 93
Pietà 7–12, 15–16, 201–3, 3
Rebellious Slave 72, 75, 58
criticism of Flemish art 130–31
criticism of Titian 119, 130–31, 139, 163, 193
and Giotto 25
hostility to portraiture 85, 92, 104, 117
late style of 131
obsequies at death of 12
Milan 99
Monet, Claude 153
Moses 8, 151, 202
Mühlberg, Battle of 110
Murano
S. Maria degli Angeli 158
Rangone, Tommaso 85
Raphael 29, 48, 60, 64, 78, 88, 106, 152, 160–61, 175, 188
Baldassare Castiglione 95, 71
Madonna di Foligno 77, 62
St Paul Preaching in Athens 106
Rembrandt van Rijn 153, 201
Reynolds, Sir Joshua 201
Riario, Raffaele 72
Ridolfi, Carlo 9, 11–12, 154, 174, 184
Naples 50
Nazaro, St 73
Nicodemus 9
251
titian
Self-portrait (Paris) 193, 155
Self-portrait (Philadelphia) 193, 154
Virgin and Child with SS. Sebastian, Mark and Theodore Adored by
Three Camerlenghi 84, 67
criticism of Titian 196
identification with Michelangelo 195
importance of drawing in workshop of 195–7
nickname and Venetian identity of 193–5
and pictorial space 193
successful workshop of 194–7
and Titian 192–7
Tintoretto, Jacopo, and workshop
Last Supper 195, 156
Nativity 195, 157
Paradise 195
Tintoretto, Marco 195
Tintoretto, Marietta 195
Titian
Alfonso d’Avalos 96–7, 110, 75
Allegory of Prudence 169, 171, 175, 133
Antonio Anselmi 95
Bacchus and Ariadne 49, 51–4, 121, 135, 138, 161, 44
Baldassare Castiglione 95, 73
Battle of Spoleto (destr.) 30, 71, 123–4, 157, 179–80, 98
Caesars (destr.) 99–105, 117
Charles v (lost) 95–6, 99, 113, 158
Charles v on Horseback 110, 89
Charles v with a Hound 97, 117, 78
Christ and the Adulterous Woman 31, 18
Christ Carrying the Cross (Venice) 61–3, 134, 48
Christ Carrying the Cross (Madrid) 61–2, 131–4, 108
Christ Carrying the Cross (St Petersburg) 61–2, 131–4, 109
Crucifixion (with Orazio) 171, 134
Danaë (Naples) 125, 130, 139–40, 113
Danaë (Madrid) 125, 132, 139–40, 145, 150, 114
Daniele Barbaro 95
Diana and Actaeon 134, 138, 141–6, 151, 190, 117, 118
Diana and Callisto 134, 141–6, 151, 119
Doge Andrea Gritti 112–15, 166, 92
Doge Francesco Donà (lost) 115
Doge Francesco Venier 115, 94
Ecce Homo 105–6, 117, 84
Federico Gonzaga 88, 94–5, 70
Flora 43–4, 88, 185, 30, 34
Francesco Maria della Rovere, Duke of Urbino 96–7, 113, 117, 76
Friend of Titian 95
Jacopo Strada 181–3, 144
Laura dei Dianti 95–6
Man of Sorrows (Dublin) 128, 131, 107
Man of Sorrows (Madrid) 128, 103
Man with a Glove 90, 94–5, 72
Martyrdom of St Lawrence 140
Mater Dolorosa 128, 106
Mater Dolorosa with Hands Apart 128, 105
Mater Dolorosa with Hands Clasped 128, 104
Miracle of the Jealous Husband 27–30, 34, 16
Le maraviglie dell’arte 15
Life of Tintoretto 195
Roch, St 73
Romano, Giulio 99
The Flaying of Marsyas 148, 123
Vision of the Cross (detail) 106, 88
Rome 72, 74, 77, 86–7, 105–6, 119, 130, 139, 155, 162, 166, 175
Borghese Collection in 185
maniera painting in 130
Marcus Aurelius equestrian statue in 110
Sistine Chapel 30
Vatican, Sala del Costantino 106
Vatican stanze 29, 160
Rota, Martino
The Death of St Peter Martyr (after Titian) 78–81, 64
Rovere, Guidobaldo della 46
Rubens, Peter Paul 155, 201
Charles v after Titian 95–6, 74
Ruskin, John 59
Sadeler, Aegidius
Julius Caesar after Titian 99–104, 81
Nero after Titian 99–104, 82
Salis, Jacopo de’ 24
Sansovino, Jacopo 105–6, 115, 174, 188
Santa Maura, Lefkada, Greece 70
Sanudo, Marin 88
Sarcinelli, Cornelio 11
Schiavone, Andrea 155, 181
Schmalkaldic League 110
Scrots, Guillim 117
Sebastian, St 72–5
Sebastiano del Piombo 160
Seisenegger, Jakob 97
Charles v with a Hound 97, 117, 79
Seneca 144
Serlio, Sebastiano
Libri dell’architettura 193
Seville
Alcázar 99
Silenus 50
Simon of Cyrene 131
Sleeping Ariadne 36
Stokes, Adrian 45
Stoppio, Nicolò 181
Strada, Jacopo 181–3
Suavius iii, Lambert
Engraved portrait of Titian 166
Sudeley Castle, Gloucestershire 185
Suetonius
De vita Caesarum 99–104
Tebaldi, Jacopo 184
Theseus 52
Tintoretto, Domenico 195
Tintoretto, Jacopo 81, 84, 155, 157, 160, 175, 179, 181, 192–7
252
Index
Virgin and Child with SS. Francis and Blaise and Alvise Gozzi 77–8,
125, 61, 63
altarpieces by 7–12, 64–81, 201–4
anachronic aspects in the style of 59–64, 123–34
androgynous quality of sitters in 88
as Apelles 153, 163
and Aretino 105–8, 113–15, 180–81
avarice of 180–84, 204–5
belle donne portraits of 43, 88, 185
burial of 10
and Byzantine art 63–4
and Central Italian art 29–30, 60, 64, 79, 110, 130–31, 155,
161
and Charles v 95–9, 110, 112, 117, 130, 158, 162–3, 168
classical art and classicism 43, 45, 50–54, 72–7, 106–10,
132–49, 161–3
colouration and role of black and white in 88–95
contrast between disguised and undisguised 201–5
as courtly performance 149–50, 155
courtly values in 88–95, 111–15
critical responses to the 149–55
devotional works by 127–34
as divino artista in the 8, 151, 161, 201–4
donor portraits in 70–72, 74, 77–8, 166–7
dowry of 159
drapery painting in 43–5
and drawing 173, 193–5
and the crisis in Venetian painting 199–201
family of 11, 157–9, 167–73
and Flemish painting 117, 130–34
and Gentile Bellini 12, 160
and Giorgione 30–46, 55, 125, 160
and Giovanni Bellini 7–8, 19–23, 30, 47–50, 54, 59–61,
121, 157, 160–62
idealization, rejuvenation and revivification in 99–115,
117–18
impact of Counter-Reformation on 127, 130
imperial style of and reference to history painting in
99–115
impresa of 118–20, 130, 205
income and wealth of 158–9
and the international Baroque 200–01
and Jacopo Bassano 12, 176,183–5
and Jacopo Tintoretto 160, 192–7
as St Jerome in 8, 201–3
knighthood of 97–9, 121, 162, 168
late style of 9, 14, 57, 119, 123–55
and Ludovico Dolce 13–4, 117–18, 159–61
and Michelangelo 9, 27–30, 34, 72–3, 85, 104, 115, 117,
119–20, 130–31, 163, 203
as King Midas in 204–5
mythological paintings of 43–54, 134–49, 188–92
and the paragone 9, 30, 40, 51, 75, 117
and the painter’s guild 12–13, 55 and see Arte dei Depentori
as performance of old age 155
and Philip ii 99, 150, 166, 168, 171
Miracle of the Sleeping Babe 24–7, 30, 40, 14, 28
Noli me tangere 31–4, 135, 21
Perseus and Andromeda 134, 140, 145, 116
Pesaro Madonna 11, 56, 69–72, 77, 79, 81, 110, 140, 188, 201, 53
Prince Philip 99, 150, 80
Pietà 7–13, 15–16, 147, 168, 175, 201–3, 1, 2, 160, 161
Pietro Aretino (Frick) 105, 85
Pietro Aretino (Uffizi) 105, 113–15, 150, 166, 86
Pietro Bembo 117
Portrait of a Young Man 88, 68
Portrait of a Young Man (‘Man with a Blue Sleeve’) 21–2, 39, 88, 27
Portrait of a Woman (‘La Schiavona’) 22, 40, 88, 29
Presentation of the Virgin 56, 105, 123–4, 127, 130, 97
Resurrection polyptych 72–7, 56
Self-portrait (Berlin) 163, 166, 174, 176, 182, 128
Self-portrait (lost) 162
Self-portrait (lost: see under Giovanni Britto) 162–3, 166, 127
Self-portrait (Madrid) 163, 167, 176, 129
Self-portrait with portrait of Philip ii (lost) 120, 166, 168
Sleeping Venus (and Giorgione) 43–5, 125, 135, 180
Study for Francesco Maria della Rovere, Duke of Urbino 97, 77
St James Major 81
St Jerome 202–3, 162
St John Almsgiver 81
St John the Baptist 81
St Mary Magdalene (Pitti) 125, 135, 111
St Mary Magdalene (St Petersburg) 125, 135, 110
St Peter Enthroned with Jacopo Pesaro Presented by Pope Alexander vi
70, 55
Submission of Frederick Barbarossa (destr.) 57, 157
The Allocution of Alfonso d’Avalos 106–110, 87
The Andrians 49, 51–4, 121, 135, 43
The Annunciation 158
The Assumption of the Virgin 11, 16, 59–60, 64–70, 78, 81, 160,
192, 202, 50, 52
The Damned Men 150
The Death of Actaeon 140, 146, 148, 153, 121
The Death of St Peter Martyr (destr.) 55, 78–81, 123, 136, 140,
64, 65
The Descent of the Holy Spirit (lost) 158
The Entombment (Paris) 125–7, 143, 100
The Entombment (Madrid, 1559) 125–7, 140,151, 101
The Feast of the Gods (and Giovanni Bellini) 47–50, 54, 38, 45
The Flaying of Marsyas 140, 146–9, 153, 181, 204–5, 122, 164
The Holy Family with SS. Catherine and John the Baptist (and Palma
Vecchio) 55–7, 46
The Rape of Europa 134, 138, 142–5, 188–90, 120
The Three Ages of Man 31–4, 141, 169, 20
The Worship of Venus 48–51, 121, 135, 39
Tommaso de’ Mosti 88–95, 69
Venus Anadyomene 43
Venus and Adonis 134, 138, 140–41, 150, 190–92, 115
Venus with an Organist and Dog 125, 135–6, 142, 205, 112
Venus of Urbino 45–7, 95, 125, 135, 142, 205, 35
Vincenzo Capello 113
Virgin and Child (‘Gypsy Madonna’) 20–23, 44, 10
253
titian
SS. Anthony Abbot, Lucy and Mary Magdalene 173, 123
Orazio 8, 11, 120, 157–8, 166–73, 201
Crucifixion 171, 134
SS. John the Baptist, Catherine and Lucy 171–2, 135
The Battle of Castel Sant’Angelo 169
as greedy 181
paintings in S. Biagio, Calalzo di Cadore 171
receives the sansaria 157–8, 168
Titian’s Habsburg pension transferred to 172
Pomponio 11, 169
Tiziano see Titian
Velázquez, Diego 155, 201
Venetian art
altarpieces in 7–8, 19, 59, 64–72, 81, 188
anti-Titian imagery in 179–85
colore and colorito in 13–14, 118, 159–60
Counter-Reformation in 183, 188
depictions of the Doge in 112–15
end of Renaissance tradition in 199–201
fresco painting in 30
history painting in 19, 23–4, 57, 83, 123
impact of Flemish art on 130
importance of drawing and perspective in 14, 20, 23–5, 193,
196–7
pictorial space in 23–5, 69–72, 193
portraiture in 35–7, 83–7
pro-Titian imagery in 173–9
Republican values in 70, 84–5, 158, 161–2, 178, 186–7, 200
ristauro in 57
rivalry and competition in 186–7
Venetian School
Titian with his Courtesan 185, 147
Veneziano family 67
Venice
cittadini originari in 19–20, 84, 123
cultural politics of mediocritas in 10, 19–20, 84–6, 115, 197
Ghetto in 62
giovane or case nuove in 85
papalisti in 86–7, 113–15
patrician caste of 10, 70, 83–7
position of women in 35
Provveditore alle Pompe 88
salaries in 158
social status of artists in 12
tomb monuments in 10
Virgin in 77
Venice, churches in
S. Angelo 11
S. Francesco della Vigna 188
S. Giorgio Maggiore 195
S. Giovanni e Paolo 15–16, 78–80
S. Maria Gloriosa dei Frari 10–11, 64–7, 69–70, 78, 201–03
St Mark’s Basilica 78
S. Spirito in Isola 158
S. Zaccaria 10
Venice, scuole in 19, 35
physiognomic and pathognomic approaches in 103–4
and pictorial space 25–7, 39–40, 49–50, 60, 64–72, 79, 193
poesie 134–46, 181, 188, 190, 192
and Pordenone 158, 160, 180
portraiture of 13, 35–43, 83–121
prices of 97, 158
and religious icon painting 60–64, 127–34
ricordi 125, 131, 166
in Rome 105, 119
and the sansaria 30, 71, 157–8, 179
and the scuole dell’arte 159
and the Scuole Piccole 159
and Scuola di S. Pietro Martire 158
and Scuola Grande di S. Rocco 158
and Sebastiano del Piombo 160
self-portraiture of 8, 161–7, 169, 201–5
social origins of sitters in 86–7
stylistic self-reference and repetition in works of 123–34
as ‘Tradition’ 123–34, 155, 173–9, 199–201
and Venetian patrons 9–10, 30, 121, 157–9, 180–81, 186–7
and Veronese 174–5, 187–92
viewer response to paintings of 44–5, 61–2, 64–72, 80–81,
94, 131–4
and Violante 184
visual spolia and bricolage in 64, 123
as works of artistic invention 117–21
workshop and pupils of 124, 167–73, 187
Titian and workshop
The Entombment (Madrid, c. 1562–72) 125–7, 130, 134, 140,
152, 102
Titian workshop
Empress Isabella of Portugal 117, 95
Madonna della Misericordia with the Family of Titian 166, 130
The Descent of the Holy Spirit 158
Tizianello
Breve compendio della vita di Tiziano 15
Urbino 86, 95
ut pictura poesis 136, 150
Vargas, Francisco de 152, 163
Varotari, Alessandro (Il Padovanino) 176
Self-portrait with a Bust of Titian(?), 141
Vasari, Giorgio 9, 12, 13–14, 54, 61, 83, 85, 119, 130–31, 134, 149–
51, 158, 160–61, 169
Lives of the Artists 13, 160
Monument to Michelangelo 10, 12
Vecchia, Pietro della
Portrait of Titian 178, 143
disegno 12–13, 67, 75, 118, 130–31, 155, 159, 163, 184, 194
Vecellio family 167
Cesare 167, 171
Francesco 167
Gregorio 167
Lavinia (Sarcinelli) 159, 185
Marco 167, 169, 171, 199
254
Index
Scuola Grande della Carità 123, 131
Scuola Grande di S. Giovanni Evangelista 24
Scuola Grande di S. Rocco 62, 134, 158
Scuola di S. Orsola 20
Scuola di S. Pietro Martire 55, 78, 81, 158
Venice, state buildings in
Biblioteca Marciana 174
Doge’s Palace 30, 35, 123, 157–8, 180, 194
Fondaco dei Tedeschi 160
Venus Genetrix 43, 148, 31
Venus Pudica 43
Verdizzotti, Giovanni Mario 174
Verona 175, 188
Veronese, Paolo 81, 174–5, 199
Diana and Actaeon 190
Holy Family with SS. John the Baptist, Anthony Abbot and Catherine
(‘The Giustiniani Altarpiece’) 188, 150
The Marriage at Cana 174, 137, 138
The Rape of Europa 190, 152
St Sebastian Altarpiece 188, 151
Venus and Adonis 190–92, 153
and Raphael 188
and Titian 174, 188–92
Veronica (picture type) 62
Vico, Giambattista 152–3
Virgo Orans 64
Vittoria, Alessandro
Monument to Alessandro Vittoria 10, 4
Vivarini, Alvise 60
Vivarini family 67
War of the League of Cambrai 70, 88
Wölfflin, Heinrich 13, 45
Zandomeneghi, Luigi and Pietro
Monument to Titian 16, 6
Zuccaro, Federico 157
255

Titian and the End of the Venetian Renaissance

Transcription

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