The greatest of all Venetian painters, Titian achieved a worldly success and artistic influence unsurpassed in his own lifetime and later equalled only by Rubens. His matchless technique brought him imperial patronage and led to a revolutionary change in the role of the painter. In liberating painting from its traditional subservience to drawing he emphasised the importance of colour and brushwork, establishing a tradition that can be traced through the work of countless artists, from Velsquez to the Impressionists and beyond. In this major study, Charles Hope draws on previously unpublished sources to present an authoritative new account of Titian's remarkable rise to fame and sustained pre-eminence and succeeds in convincingly challenging many long held ideas about the painter's career and development. Thirty-two colour plates and over eighty black and white illustrations show every aspect of Titian's work as the last great painter of the High Renaissance, including portraits epitomising the aristocratic ideals of the period, erotic depictions of pagan gods, and religious compositions that laid the foundations of Catholic baroque art.
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Est. Packaging Dimensions: Length: 11.26" Width: 9.21" Height: 1.1" Weight: 2.95 lbs.
Release Date Mar 18, 2004
Publisher Chaucer Press
ISBN 1904449190 ISBN13 9781904449195
Availability 0 units.
More About Charles Hope
Charles Hope is director of the Warburg Institute and professor at the University of London; Jennifer Fletcher was most recently senior lecturer at the Courtauld Institute; Jill Dunkerton is restorer in the conservation department at the National Gallery, London; Miguel Falomir is head curator of Italian Renaissance painting at the Prado, Madrid; David Jaffe is senior curator at the National Gallery, London; Nicholas Penny is senior curator of sculpture at the National Gallery of Art, Washington; Caroline Campbell is assistant curator of Renaissance paintings at the National Gallery, London; Amanda Bradley is supervisor and guest lecturer in the Department of History of Art, University of Cambridge.
There is an imbalnce between text and illustrations. The text is extensive, competent and easy to read. The illustrations are of average quality and tend to be small. Some of Titian's major works such as the Depostion from the Cross at The Accademia in Venice and the portrait of a Doge [Chigi?] at the National Gallery are not included'
superb intro to titian Mar 14, 2004
for its size, this is probably the best overview of titian available in english. the color reproductions are beautifully done, the sampling of titian's works is comprehensive yet compact. the historical essays on the epochs of titian's output and the commentaries to each painting are well written and highly informative. a few major works, such as the venus d'urbino, are reproduced in smaller format and discussed only in passing, as they could not be included in the exhibition. even so, only rona geffen's study of titian's women goes farther and deeper into titian's originality, humanity and genius. highly recommended.