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The first Poesie presented to Prince Philip were Danaë (1553, The Wellington Collection) and Venus and Adonis (1554, Museo del Prado, P422), versions of other previous works, but endowed with all [+]
Salome, an Edomite princess born of Herodias and the wife of Herod Philip I, carries the severed head of Saint John the Baptist on a tray, illustrating a Bible passage from Matthew (14:1–11) and Mark [+]
Titian represented the Gospel account of the burial of Christ (Matthew 27: 57-61; Mark 15: 44-47; Luke 23: 50-54; John 19: 38-42) on several occasions. There is a notable difference between his first [+]
In 1553 Titian painted a Noli me tangere for Mary of Hungary, the Emperor Charles V’s sister, which the Spanish Ambassador in Venice described as a “work very worthy of being seen”. Following its arri [+]
This work was first recorded in 1641 as a work by Titian belonging to the Duke of Medina de las Torres in Naples. It was, however, attributed to Giorgione for centuries until Wilhelm Schmidt again att [+]
Alfonso d´Avalos, first Marchese del Vasto, was born in Ischia on 25 May 1502 to a noble Neapolitan family of Castilian origins. He fought in Pavia (1525) under the orders of his uncle Fernando d´Aval [+]
Previously catalogued as Portrait of Titian’s Daughter Lavinia Vecellio by Veronese, this canvas of an unknown sitter was painted in Titian’s studio. The lively face, probably painted by Titian himsel [+]
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In contrast to the paintings created for the Camerino d´Alabastro and the poesie made for Philip II, the canvases on the subject of Venus do not form a homogenous group as they were not painted for on [+]
Titian´s first contribution to the Camerino d´Alabastro was prompted by the death in October 1517 of Fra Bartolommeo from whom Alfonso d´Este had commissioned a Worship of Venus one year previously an [+]
We know from a letter of 30 June 1553 from the Spanish Ambassador in Venice that Titian was waiting for instructions from the emperor to paint a panel of Our Lady the same as the Ecce Homo which Your [+]
John Frederick I of Saxony (Torgau, 30 June 1503–Jena, 3 March 1554), Duke of Saxony-Wittenberg from 1532, was the principal defender of Luther, a fact that brought him into conflict with Charles V. I [+]
On 16 April 1529 Federico II Gonzaga, First Duke of Mantua (1500-1540), apologised to his uncle Alfonso d’Este for retaining Titian: perché ha conienzo un retratto mio qual molto desidero sii f [+]
Described by Lodovico Dolce as a gentleman of great merit and infinite goodness, Daniele Barbaro (1513-1570) was from a noble Venetian family. He was educated to the highest level first in Verona and [+]
Renaissance painting abounds with representations of Christ bearing the cross on the road to Calvary, either as an isolated figure, or with an executioner assailing him, or accompanied by soldiers, cu [+]
Charles V commissioned The Glory from Titian during their meeting in Augsburg in 1550-51. The painting was completed in October 1554 and was sent to Brussels. The unusual composition, which must corre [+]
This painting depicts a passage from the Gospel of Saint John (19, 4-5) which recounts how after Christ had been whipped and crowned with thorns: Pilate therefore went forth again, and saith unto them [+]
In his Metamorphoses Ovid recounts the torments of the Giant Tityus, whose punishment for having attempted to rape the goddess Leto was to have two vultures devouring his continually regenerating live [+]
