ArtH 3161 After Leonardo: Mannerist and Venetian Renaissance Art

Prof. Dabbs

Fall 2017

Image Review List for Exam #3 (scheduled for Tues. Dec. 12, 1:30)

* (please let me know if any links are not functioning!)

TITIAN (c.1490-1576):

Early Titian:

The Gypsy Madonna, c.1510 (fig. 96)

Compared to Bellini, Madonna and Child, 1509

Early Titian/Collaboration with Giorgione?:

Sleeping Venus, c. 1510 [mostly by Giorgione]

Pastoral Concert [or Symphony] the Louvre (and various scholars) now attribute this work to Titian (but others of us are not so sure!)

[dropped] Miracle of the Speaking Babe, 1511 [fresco; for the scuola of St. Anthony, Padua]

[Sacred and Profane Love --- moved to “Titian’s Women”; La Schiavona and Man with Blue Sleeve – see “Portraiture”]

Terms: cassone

Titian and Portraiture:

La Schiavona [or, The Slavic Woman] c. 1511

Man with a Blue Sleeve, c.1510-12 (fig. 95)

Portrait of Clarissa Strozzi, 1542

[added] Portrait of Jacopo Strada, 1567

Triple Portrait (Allegory of Time Governed by Prudence), 1565

[will see examples of Titian’s anonymous ideal women portraits with “Titian’s Women”]

[dropped] Pietro Aretino (1545) [fig. 157]

[dropped] Pope Paul III and his Grandsons (1546) [fig. 148]

[dropped] Charles V on Horseback, 1548 [fig. 151]

Titian and Mythology:

Feast of [or Worship of] Venus, c.1518 *for comparison to ekphrasis on “Cupids” in crspk

Bacchus and Ariadne, 1520-23 (fig. 110)

Bacchanal of the Andrians, [or just, The Andrians] c. 1523-25

Danae, 1560s; also compared to Titian’s 1544-46 version of same subject (this is the one that Michelangelo and Vasari would have seen in Rome)

Venus & Adonis, 1554 *for comparison to ekphrasis on this ptg in crspk

Rape of Europa, 1559

[dropped: Flaying of Marsyas]

Terms/Names of patrons: ekphrasis; colorito vs. disegno; Alfonso d’Este (Duke of Ferrara); camerino; King Philip II of Spain

Titian’s Women:

Sacred and Profane Love, c.1515 (fig. 84 in Murray text)

Venus of Urbino, 1538, fig. 87

Compared to: Lorenzo Lotto, Venus & Cupid, c. 1520

La Bella, 1536 (fig. 119)

Woman in a Fur Coat, c.1536

Mary Magdalen, c.1533

Mary Magdalen, 1560s

Terms/names: cassone; epithalamium; pseudo-portrait; courtesan;

Flora, c.1515 [very briefly saw, won’t be asked to know]

Titian’s Religious Works:

Assumption of the Virgin, 1516-18 (fig. 109) [see Web Gallery of Art for details too]; location: Sta. Maria Gloriosa dei Frari (or, just the “Frari” is fine)

Here’s a website for the church of the Frari, so you can get a sense of the spatial context

· Compared to Perugino, Assumption of the Virgin, c. 1506

Pesaro Madonna, 1519-26, fig. 88 location: same as for the Assumption of the Virgin (Church of the Frari)

Christ Crowned with Thorns, 1542 (Paris); compared to:

Christ Crowned with Thorns, c. 1570 (Munich)

Pietà, c.1570-76 *think about this painting as a summation of Titian’s

career (his interests, talents as an artist)

Temptation of Christ [at the MIA; we didn’t see, and don’t have to know this one, but check it out next visit to the MIA!]

[dropped] Death of St. Peter Martyr, 1530 (fig. 113) [engraving done based on the now lost painting]

Later painted reproduction

Compared to Giovanni Bellini’s version

Veronese:

Mars & Venus United by Love, 1576

Feast in the House of Levi, 1573 (Humfrey, figs. 180, 181) [details at Web Gallery of Art]

Tintoretto (Jacopo Robusti, 1518-94):

St. Mark Rescuing the Slave, 1548 (fig. 209 in Murray; fig. 163 in Humfrey)

Origin of the Milky Way, c.1580 (Humfrey, fig. 172)

[won’t have to know: The Last Supper, 1592-94 (fig. 217 in Murray)

Some review topics to think about as you study:

- The paragone!! Where do we see this come up in Titian’s works?

- Painting and poetry: to what extent does Titian compete with or gain inspiration from poetry in particular works?

- How does Titian’s style change over the course of his career?

- How does Titian transform the genre of portraiture?

Longer response question to prepare for (will write in class, Part III of exam; worth 15 pts):

How might have Titian responded if he had been in the room when Michelangelo and Vasari commented on his style of painting, as they viewed Titian’s Danae in Rome? In your response, have Titian make specific comments about three other works of art (including two other paintings by him; third can be to another artist’s work seen in this course) to support his points.

-------------------FINAL UPDATE MADE, 12/7/17 ---------- HAPPY STUDYING!! -------