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At the National Gallery

Charles Hope: ‘Titian’s First Masterpiece’, 24 May 2012

... The small exhibition at the National Gallery entitled Titian’s First Masterpiece: ‘The Flight into Egypt’, open until 19 August, is centred on a large canvas from the Hermitage. The picture has not been much discussed by scholars. This is partly because it has just emerged from a lengthy restoration, partly because it is known to most specialists mainly or only through photographs, and not least because it does not look much like any other painting generally accepted as by Titian ...

A Wonder and a Scandal

Peter Campbell: Titian, 5 April 2001

TitianThe Complete Paintings 
by Filippo Pedrocco and Maria Agnese Chiari Moreto Weil.
Thames and Hudson, 336 pp., £50, March 2001, 0 500 09297 4
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... you are willing to define what you mean by it, the idea of progress in the arts is useful. Take Titian’s portraits. Whether or not those who first saw them understood that a new way of recording likeness was evolving, that way would define the technical ambitions of European portrait painting until photography put an end to them. In portraiture, as ...

Not very good at drawing

Nicholas Penny: Titian, 6 June 2013

TitianHis Life 
by Sheila Hale.
Harper, 832 pp., £30, July 2012, 978 0 00 717582 6
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... Titian: His Life is – not surprisingly, considering its great length – really about Titian’s ‘life and times’, and often seems to be more about the latter than the former. Even when we meet with a fact about the artist (and there are a good many new ones here) – it may be about the family timber business, about the artist’s investments in land, about his endless pursuit of benefices for his unworthy son Pomponio or of emoluments for himself – we seem to be considering commonplace behaviour rather than anything exceptional, anything that might explain his greatness as an artist, his powers of sympathy and imagination ...

At the National Gallery

Peter Campbell: Titian, 6 March 2003

... The painting A Man with a Quilted Sleeve in the Titian exhibition at the National Gallery (until 18 May) makes sense as a self-portrait. The bearded young man looks over his shoulder towards you as an artist would who had turned from canvas to mirror. There are also two undoubted self-portraits here. The Berlin picture (from the mid to late 1540s) shows Titian in vigorous old age – although exactly how old he was is a mystery since his date of birth is uncertain ...

At the Royal Scottish Academy

Nicholas Penny: The Age of Titian, 21 October 2004

... stands in front of the more reticent and elegant home of the parent institution. But The Age of Titian, an exhibition devoted to Venetian Renaissance art mainly from Scottish collections, is so well conceived and displayed that it disarms those of us who trembled at the prospect of change to the arrangements here. There are paintings transported from ...

Titian’s Mythologies

Thomas Puttfarken, 2 April 1981

by Charles Hope.
Jupiter Books, 170 pp., £12.50, June 1980, 0 906379 09 1
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... If Titian’s reputation were to be assessed by the number and quality of the monographs devoted to him during this century, it would be hard to believe that he was one of the greatest painters of European art history. There are, perhaps, two closely related reasons for this. On the one hand, the crucial element of his art, his treatment of colour, cannot be reproduced in black-and-white illustrations; and, perhaps worse, even the best and technically most advanced colour plates necessarily distort and impoverish the rich harmonics of his colour schemes ...

At the Royal Academy

Charles Hope: Giorgione, 31 March 2016

... to Michiel the landscape and a figure of Cupid (eliminated by a restorer in 1843) were by Titian. The same picture had been described in 1648 by the Venetian writer Carlo Ridolfi, who added that Cupid was shown holding a bird. Morelli’s identification, his apparent ability to recognise a masterpiece by Giorgione in a picture then considered to be a ...

Human Stuff

Lawrence Gowing, 2 February 1984

... towards the mountains. The Pastoral Concert must have been inspired by Giorgione, even though Titian painted the picture (in the Louvre). In mid-century (and often in this exhibition) the concert reassembles to celebrate erotic delight and fate. In one print the band is conducted by an écorché figure and a skeleton, bodies flayed for art; the subject is ...

At the Royal Academy

Charles Hope: Giovanni Battista Moroni , 8 January 2015

... than flattering, but they are considered beautiful none the less; and the same is true of those by Titian, who managed to make the rulers he painted uniformly handsome, confident, authoritative and benign, but in ways that seem entirely convincing and unstrained. ‘Portrait of Bernardo Spini’ and ‘Portrait of Pace Rivola ...

Measuring up

Nicholas Penny, 4 April 1991

Renaissance Portraits: European Portrait Painting in the 14th, 15th and 16th Centuries 
by Lorne Campbell.
Yale, 290 pp., £35, May 1990, 0 300 04675 8
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... he doesn’t mention this) originally included such columns. He also connects this convention with Titian’s use of asymmetrical columns and pilasters of huge proportions. But this is surely completely different and was suggested to Titian by the massive columns he had deployed as part of the palatial theatrical setting for ...

King Cling

Julian Bell: Kings and Collectors, 5 April 2018

Charles I: King and Collector 
Royal Academy, London, until 15 April 2018Show More
Charles II: Art and Power 
Queen’s Gallery/London, until 13 May 2018Show More
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... is as agonising as that in the National Gallery’s better-known canvas on the same theme by Titian. Titian​ is effectively the backbone of Caroline art history, to the extent, that is, that any theme can be said to have informed the big grab that came away with some ingratiating Correggios, some bombastic Palma ...

Made in Venice

Charles Hope, 2 April 1981

Andrea Schiavone 
by Francis Richardson.
Oxford, 225 pp., £30, April 1980, 0 19 817332 6
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... local tradition whose best representatives were among the outstanding artists of their day. Titian, Tintoretto and Veronese, for example, were all active when Sansovino was writing: at that time nowhere else in Italy could boast of a group of painters of comparable stature. But not only have historians of this period devoted much more attention to the ...

At the National Gallery

Peter Campbell: Renaissance Faces, 6 November 2008

... under a hundred pictures, and more than a hundred faces, in Renaissance Faces: Van Eyck to Titian, at the National Gallery until 18 January. Some of the pictures stick firmly to the facts: the line of a nose, the jut of a chin, the texture of stuffs and fur, the shine of gold. Others adjust things to emphasise status or enhance beauty. Sometimes ...

At the National Gallery

Peter Campbell: Rembrandt, 17 August 2006

... stubborn refusal to bow to the archetype. One is an intruder on privacy as one never is with a Titian or a Rubens nude. It is possible that Bathsheba’s pose is based on a piece of classical statuary that Rembrandt could have known from an engraving; this may explain why, although it is a greater picture than the Woman Bathing, one does not read the pose ...

In Lille

Peter Campbell: Rubens, 1 April 2004

... elegant, perfectly muscled, sculptural. Compare this version of the dead body with the body in Titian’s late Entombment in the Prado. Titian’s Christ looks older. His heavily muscled arm can also be compared to antique sculpture. But where Rubens suggests a sleeping Apollo, ...

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