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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 the prestige of the commissioning party. In turn, these works became models for numerous replicas (Danaë receiving the Golden Rain, 1560-65, Museo del Prado, P425).Danaë depicts the moment
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 (6:22–28). Titian had already painted this story in 1516 (Galleria Doria Pamphilj, Rome), with a pyramidal composition that showed Salome bearing the saint’s head on a tray held chest high, and a serv
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 version (Paris, Louvre) of around 1526 which is clearly indebted to Raphael´s painting of that subject (Rome, Galleria Borghese), and his other versions painted between 1559 and 1572. The main differe
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 correspond to precise instructions on the part of the emperor, as Gronau noted, is presided over by the Trinity, with the Virgin and behind her Saint John the Baptist -theologically the two principal inter
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 version (Paris, Louvre) of around 1526 which is clearly indebted to Raphael´s painting of that subject (Rome, Galleria Borghese), and his other versions painted between 1559 and 1572. The main differe
Titian painted his first self-portrait before leaving for Rome in 1545. However, it was after his Roman stay that he showed the most interest in disseminating his image in order to fully establish his position in a context of intense rivalry with Michelangelo. In 1549 Paolo Giovio acquired a self-portrait by the artist for his Museo in Como, while in 1550 the painter had another one sent to Charle
