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6/10/2003 - 9/7/2003

Tiziano is the most extensive exhibition devoted to the artist’s work since the one held in Venice in 1935, and the first monographic exhibition dedicated to his work in Spain. H.R.H. the Prince of Asturias and the vice-president of the Italian Government, Gianfranco Fini opened the exhibition on June the 9th. Featuring a total of 65 works, it includes more than 30 paintings that have never previously been seen in Spain, such as the Venus of Urbino, which is shown outside Italy for the first time in its history.Between 1508 and 1510, the years when he produced his first works, and his death in 1576, Titian created one of the greatest oeuvres in western art, was the most acclaimed painter of his day and the protagonist of a type of painting that emphasised colour as its main expressive value in a way that would have enormous consequences for the art of the future. The Museo del Prado has the finest collection of works by the artist as a result of his unique relationship with the Spanish monarchy. It has now organised this monographic exhibition, one of the most complete ever to be devoted to the artist, comprising 65 paintings organised into five sections. These include the Venus of Urbino (Florence, Galleria degli Uffizi), Salomé (Rome, Galleria Doria Pamphili), La Schiavona (London, The National Gallery), Man with a Glove (Paris, Musée du Louvre), Tarquin and Lucretia (Cambridge, The Fitzwilliam Museum), The Flaying of Marsyas (Kromeriz, Archbishop’s Palace), as well as the masterpieces by the artist in the Museo del Prado’s permanent collection. Giovanni Bellini’s Feast of the Gods (Washington D.C., National Gallery of Art), which formed part of the spectacular group of mythologies that Titian painted for the Camerino d’Alabastro in the Ducal palace in Ferrara, will be one of the highlights of the exhibition.

Miguel Falomir, Head of Department of Italian Renaissance Painting at the Museo del Prado


Room Galería Central, Museo Nacional del Prado



Origins (up to 1516)

Origins (up to 1516)
“La Schiavona”. Tiziano. Oil on canvas, 119.2 x 100.4 cm. c. 1510-1512. London, The National Gallery, nº 1944.

This first section covers Titian’s earliest works and looks at his relationship with Giovanni Bellini, Giorgione and Sebastiano del Piombo, as well as the process by which he forged his own style.


Apelles reborn (1516-1533)

Apelles reborn (1516-1533)
The Bacchanal of the Andrians. Tiziano. 1523 - 1526. Oil on canvas, 175 x 193 cm.

Giovanni Bellini died in 1516, making Titian the leading painter in Venice. He also made his first contacts with Alfonso d’Este, Duke of Ferrara, resulting in the growth of his reptutation outside Venice. This process culminated in 1533 when Titian was knighted by Charles V. This section looks in detail at the Camerino d’Alabastro, the most important mythological cycle painted in the first half of the 16th century. Giovanni Bellini’s contribution to that cycle, the Feast of the Gods (Washington, National Gallery of Art), with its landscape repainted by Titian, will be exhibited for the first time in Spain.

From Bologna to Augsburg (1533-1551)

From Bologna to Augsburg (1533-1551)
The Emperor Charles V at Mühlberg. Tiziano. 1548. Oil on canvas, 335 x 283 cm.

These two decades saw Titian’s lengthiest periods outside of Venice. In 1546-47 the artist went to Rome and worked for Pope Paul III, while in 1548 and 1551 he was summoned to Augsburg by Charles V. For these patrons he produced such mayor works as The Glory (Madrid, Museo del Prado). This section will emphasise the artist’s innovations in the field of portraiture, a genre that particularly contributed to his international reputation, as well as his attitude to other great contemporaries such as Michelangelo. It also looks at Titian’s response to the arrival in Venice of Mannerists such as Salviati and Vasari in the 1540s.

The Reclining Nude and the “poesie”

The Reclining Nude and the “poesie”
Danaë receiving the Golden Rain. Tiziano. 1560 - 1565.Oil on canvas, 129.8 x 181.2 cm.

Around 1551, Titian and Philip II must have discussed the project of the “poesie” in Augsburg. These were six mythological paintings intended to delight the senses, and which Titian would deliver to the Spanish king between 1553 and 1562. In addition, these work express various key concepts in Venetian art theory, such as the primacy of colour over design. This section, the only one in the exhibition that is not organised in a strictly chronological sense, includes other works, in particular the Venus of Urbino, which illustrate Titian’s key contribution to the reclining female nude.

Late Titian (1554-1576)

Late Titian (1554-1576)
The Flaying of Marsyas. Tiziano. Oil on canvas, 220 x 204 cm. Kromeriz, Palace of Kromeriz, Archbishopric Olomouc.

One of the largest sections in the exhibition along with the third one. It looks at the profound transformation which Titian’s painting underwent from the early 1550s, evident in formal aspects of his style, such as the use of a more subdued palette and an increasingly fluid brushstroke, as well as the emotional aspect, resulting in ever more expressive and dramatically intense works.



The Virgen and Child ("The Gipsy Madonna")

c. 1511

Oil on panel, 65.8 x 83.8 cm.

Vienna, Kunsthistorisches Museum


The Holy Family with a Shepherd

c. 1510

Oil on canvas, 106.4 x 143 cm.

London, The National Gallery, nº 4


Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

c. 1506-1511

Oil on canvas, 145.5 x 183.5 cm.

Antwerp, Koninklijk Museum voor Schone Kunsten, nº 357


Noli me tangere

c. 1514

Oil on canvas, 110.5 x 91.9 cm.

London, The National Gallery, nº 270


"La Schiavona"

c. 1510-1512

Oil on canvas, 119.2 x 100.4 cm.

London, The National Gallery, nº 1944



c. 1515-1516

Oil on canvas, 90 x 72 cm.

Rome, Galleria Doria-Pamphilj


"The Bravo"

c. 1516-1517

Oil on canvas, 75 x 67 cm.

Vienna, Kunsthistorisches Museum


Man with a Glove

c. 1523

Oil on canvas, 100 x 89 cm.

Paris, Musée du Louvre


The Feast of the Gods

Giovanni Bellini


Oil on canvas, 170.2 x 188 cm.

Washington D.C:, National Gallery of Art, Widener Collection 1942.9.1


Madonna and Child with Saint Catherine and a Shepherd ("The Madonna of the Rabbit")


Oil on canvas, 71 x 87 cm.

Paris, Musée du Louvre


The Virgin and Child with the Infant Saint John and a Female Saint or Donor ("The Aldobrandini Madonna")

c. 1532

Oil on canvas, 102.4 x 143.7 cm.

London, The National Gallery, nº 1944


Saint John the Baptist

c. 1531-1532

Oil on canvas, 201 x 134 cm.

Venice, Galleria dell’Accademia di Belle Arti, nº 194


Portrait of Clarissa Strozzi

c. 1542

Oil on canvas, 115 x 98 cm.

Berlin, Staatliche Museen zu Berlin, Gemäldegalerie


Ranuccio Farnese


Oil on canvas, 89.7 x 73.6 cm.

Washington D.C., National Gallery of Art


Paul III


Oil on canvas, 113.7 x 88.8 cm.

Naples, Museo Nazionali di Capodimonte, inv. n. 130


The Vendramin Family venerating a Relic of the True Cross

c. 1540-1545

Oil on canvas, 206.1 x 288.5 cm.

London, The National Gallery


Pietro Aretino


Oil on canvas, 108 x 76 cm.

Florence, Galleria Palatina (Palazzo Pitti)


Portrait of a Patrician Woman and her Daughter

c. 1550

Oil on canvas, 88 x 79 cm.

Private Collection


Venus of Urbino


Oil on canvas, 119 x 165 cm.

Florence, Galleria degli Uffizi




Oil on canvas, 120 x 172 cm.

Naples, Museo Nazionale di Capodimonte, inv. S. 83971


Venus Blindfolding Cupid

c. 1560-1565

Oil on canvas, 118 x 185 cm.

Rome, Galleria Borghese


Francesco Venier


Oil on canvas, 113 x 99 cm.

Madrid, Museo Thyssen-Bornemisza


Saint John the Baptist

c. 1565-1570

Oil on canvas, 185 x 114 cm.

Patrimonio Nacional, Real Monasterio de San Lorenzo de El Escorial


The Virgin and Child

c. 1560

Oil on canvas, 124 x 96 cm.

Venice, Galleria dell’Accademia, cat. 1359


The Martyrdom of Saint Lawrence


Oil on canvas, 440 x 320 cm.

Patrimonio Nacional, Real Monasterio de San Lorenzo de El Escorial, Iglesia Vieja


Tarquin and Lucretia


Oil on canvas, 188.9 x 145 cm.

Cambridge, The Fitzwilliam Museum


Saint Jerome

c. 1570-1575

Oil on canvas, 137.5 x 97 cm.

Madrid, Museo Thyssen-Bornemisza


Saint Jerome

c. 1575

Oil on canvas, 216 x 175 cm.

Patrimonio Nacional, Real Monasterio de San Lorenzo de El Escorial


The Flaying of Marsyas

Oil on canvas, 220 x 204 cm.

Kromeriz, Palace of Kromeriz, Archbishopric Olomouc



c. 1570-1576

Oil on canvas, 109.2 x 92.7 cm.

Saint Louis (Missouri), The Saint Louis Art Museum



c. 1565-1570

Oil on canvas, 100 x 100 cm.

Madrid, Museo Nacional del Prado

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