This is Titian’s largest group portrait. This is Titian’s largest group portrait. Learn more about this artwork.

Titian has painted the moment Diana forces Callisto to strip and bathe after hunting and discovers her pregnancy. View in Augmented Reality. The picture was known to Rembrandt and Van Dyck in the seventeenth century, and did, indeed, inspire self-portraits by those masters. Yet the way in which the picture is painted and the range of colours used are characteristic of Titian’s work of the 1520s.This apparent... A boy sings from a partbook while his music master beats time with his finger and perhaps sings along.

Christ says, ‘Do not touch me’ (in Latin, noli me tangere); it is time for his followers to let go of his ea... Titian painted this picture when he was in his early twenties, at a time when private portraits of individual women were still rare. Above this are vine scrolls, a beaked serpent's head and a mask which may be clues to the sitter's identity. Barbarigo.

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picture plane, thrusting forward and back into space, nonetheless maintains the continuity of that plane - partly by the value distribution of the luxurious blue satin. In mood, pose, and technique, the Frick portrait closely resembles the central figure of The Concert (Palazzo Pitti), a painting that also has been ascribed both to Titian and to Giorgione. The Virgin and Child are accompanied by the young Saint John the Baptist and a kneeling woman, who cannot be clearly identified. This was long believed to be a portrait of the celebrated Italian poet Ludovico Ariosto (1474–1533), and then later thought to be a self portrait by Titian.

the physiognomic expression, has led to the tantalizing suggestion that this unknown sitter may in fact represent Titian himself. Nevertheless, the portrait seems to have been well known, at least in the seventeenth century; Carlo Dolci included a copy of the figure in the background of his Martyrdom of St. Andrew (Palazzo Pitti, Florence).The painting is generally considered an early work of Titian.

Portrait of a Man is a c.1515 male oil on canvas portrait by Titian, now in the Indianapolis Museum of Art. It shows the Adoration of the Shepherds – the flying angel in the distance announces Christ’s birth to them. shoulder creates a deep resonance of tone against which the satin sleeve is played off - as the profile of the cloak itself comments on the outline of the sleeve.

He is arranged in simple, yet luxurious, expensive clothing which could only have been owned by the wealthy man that he was. It may have been the painting seen by Carlo Ridolfi in Nicolas Régnier 's house around 1648. The Latin inscription divided to correspond to the three heads translates as: ‘Learning from Yesterday, Today acts prudently lest by his action he spoil Tomorrow.’ The meaning and pu... One of the most famous paintings in the National Gallery, Titian’s Bacchus and Ariadne illustrates a story told by the classical authors Ovid and Catullus. 1515.

His fate is foretold by the stag’s skull on the plinth and the skins of Diana’s former prey hanging above her head. The strip of classical-style relief sculpture on the left enlivens the gloom of the interior and may allude to the sitter’s tastes. If much of the impact of this portrait depends upon its large-scale relationships, these all serve to accentuate the psychological locus of the image, the highly articulate face and The story of Actaeon is told in the Metamorphoses by the Roman poet Ovid. Although our doors have temporarily closed, it's still possible to book tickets for visits from 2 December onwards. Portrait of a Man (Titian, New York) From Wikipedia, the free encyclopedia Portrait of a Man is an oil on canvas painting by Titian (950,2x45,1 cm), dating to around 1512. The Virgin Mary gazes at the infant Christ who feeds from her breast.

One morning when Venus departs in her sky-borne chariot, Adonis’s hounds rouse a wild boar, which turns on him. At first she mistakes him for a gardener but then reaches out her hand in wonder.