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Erwin PanofskyErwin PanofskyProblems in Titian, Mostly Iconographic Hardcover – 1969年 1月 1日
Series: Wrightsman Lectures
Series by cover
Works (10)
| Titles | Order |
| Rembrandt and the Italian Renaissance by Kenneth Clark | 1 |
| Problems in Titian, mostly iconographic by Erwin Panofsky | 2 |
| Byzantine Art and the West (The Wrightsman lectures) by Otto Demus | 3 |
| Raphael by John Pope-Hennessy | 4 |
| Painting at Court by Michael Levey | 5 |
| Architect and Sculptor in Classical Greece by Bernard Ashmole | 6 |
| Rediscoveries in Art: Some Aspects of Tastes, Fashion and Collecting in England and France by Francis Haskell | 7 |
| The art of the Renaissance in Eastern Europe : Hungary, Bohemia, Poland by Jan Białostocki | 8 |
| The Sense of Order: A Study in the Psychology of Decorative Art (The Wrightsman Lectures, V. 9) by E. H. Gombrich 1979/84 | 9 |
The English decorated style : Gothic architecture transformed, 1250-1350 by Jean Bony
| Title | Problems in Titian: Mostly Iconographic : the Wrightsman Lectures |
| Author | Erwin Panofsky |
| Publisher | New York University Press, 1969
THE SELF DEPICTED: Tiziano’s Prado self portrait Titian (Tiziano Vecellio c. 1488-1576) painted several independent still lifes in his long career, but only two survive. The Berlin self portrait has variable dating between 1546 and 1550, and was earlier posted today. Here I offer the later of Tiziano’s extant self portraits, the profile self portrait from c. 1567, held by the Museo del Prado, in Madrid. In this Prado Self-Portrait, Tiziano utilizes a a different thematic scheme than he did in the earlier Berlin self portrait. Tiziano, like Rembrandt after him, is completely unapologetic in showing his advanced age of the artist, devoid of any flattery. He looks thinner and more remote than his Berlin self-portrait and appears to be deep in thought and remote to the viewer. As in the Berlin self-portrait, here Tiziano also emphasizes his nobility through the inclusion of the golden chain that identifies him as a Knight of the Golden Spur, and his black clothing (the color recommended for knights by Baldassare Castiglione in Il Cortigiano, The Courtier, book II, 27, of 1527) The fact that Tiziano is also holding a painy brush suggests that he also wished to indicate that he owed his social elevation to his skills as a painter. This self- portrait still presents an air of quiet dignity and mastery. Tiziano may have had less self-confidence in his physical appearance when he produced the work but the brilliance of his art is clearly apparent. Think for a moment, however, as to what kind of mirror setup would have even allowed Tiziano to depict himself in real-time looking sidewise. There was no photography in the cinquecento. I discuss this work in my lecture on the optics of self portraiture. You can see that sometimes, an artist needs to use their imagination to depict their reality. 1) Prado curatorial comments Self Portrait Titian (Tiziano Vecellio) c. 1567 oil on canvas, 86 cm × 65 cm Museo del Prado Madrid
Titian's drawings; Titian’s Mistress discovered.
National GalleryTitian died #OnThisDay in 1576. Titian was the greatest painter of 16th-century Venice, and the first painter to have a mainly international clientele. He painted 'Bacchus and Ariadne' between 1520-3. You can learn more about this work by watching our You Choose talk here:http://bit.ly/2b1oxV7British Museum 新增了 4 張相片。Italian artist Titian died #onthisday in 1576. Leader of the 16th-century Venetian School, his long career spanned everything from prints to portraits. These elegant prints and drawings show his versatility in handling landscapes and people. http://ow.ly/oy3x303faNTTitian died #onthisday in 1576. Here are some of his wonderful drawings http://ow.ly/AKspIBBC CultureA British art restorer was shocked when an ordinary painting she was cleaning turned out to be the work of the Italian master Titian.‘How I discovered a masterpiece’BBC.COM|由 ALASTAIR SOOKE 上傳 |
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