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The Later Works of Titian   By: (1846-1924)

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Keeper of the Wallace Collection


[Illustration: Titian. From a photograph by G. Brogi.]




Portrait of Titian, by himself. Uffizi Gallery, Florence. Frontispiece

La Bella di Tiziano. Pitti Palace, Florence.

Titian's daughter Lavinia. Berlin Gallery.

The Cornaro Family. Collection of the Duke of Northumberland.


Drawing of St. Jerome. British Museum.

Landscape with Stag. Collection of Professor Legros.


Madonna and Child with St. Catherine and St. John the Baptist. In the National Gallery.

Cardinal Ippolito de' Medici. Pitti Palace, Florence.

Francis the First. Louvre.

Portrait of a Nobleman. Pitti Palace, Florence.

S. Giovanni Elemosinario giving Alms. In the Church of that name at Venice.

The Girl in the Fur Cloak. Imperial Gallery, Vienna.

Francesco Maria della Rovere, Duke of Urbino. Uffizi Gallery, Florence.

The Battle of Cadore (from a reduced copy of part only). Uffizi Gallery, Florence.

The Presentation of the Virgin in the Temple. Accademia delle Belle Arti, Venice.

The Magdalen. Pitti Palace, Florence.

The Infant Daughter of Roberto Strozzi. Royal Gallery, Berlin.

Ecce Homo. Imperial Gallery, Vienna

Aretino. Pitti Palace, Florence

Pope Paul III. with Cardinal Farnese and Ottavio Farnese. Naples Gallery

Danaë and the Golden Rain. Naples Gallery

Charles V. at the Battle of Mühlberg. Gallery of the Prado, Madrid

Venus with the Mirror. Gallery of the Hermitage, St. Petersburg

Christ crowned with Thorns. Louvre

The Rape of Europa

Portrait of Titian, by himself. Gallery of the Prado, Madrid

St. Jerome in the Desert. Gallery of the Brera, Milan

The Education of Cupid. Gallery of the Villa Borghese, Rome

Religion succoured by Spain. Gallery of the Prado, Madrid

Portrait of the Antiquary Jacopo da Strada. Imperial Gallery, Vienna

Madonna and Child. Collection of Mr. Ludwig Mond

Christ crowned with Thorns. Alte Pinakothek, Munich

Pietà. By Titian and Palma Giovine. Accademia delle Belle Arti, Venice



Friendship with Aretino Its effect on Titian's art Characteristics of the middle period "Madonna with St. Catherine" of National Gallery Portraits not painted from life "Magdalen" of the Pitti First Portrait of Charles V. Titian the painter, par excellence, of aristocratic traits The "d'Avalos Allegory" Portrait of Cardinal Ippolito de' Medici S. Giovanni Elemosinario altar piece.

Having followed Titian as far as the year 1530, rendered memorable by that sensational, and, of its kind, triumphant achievement, The Martyrdom of St. Peter the Dominican , we must retrace our steps some three years in order to dwell a little upon an incident which must appear of vital importance to those who seek to understand Titian's life, and, above all, to follow the development of his art during the middle period of splendid maturity reaching to the confines of old age. This incident is the meeting with Pietro Aretino at Venice in 1527, and the gradual strengthening by mutual service and mutual inclination of the bonds of a friendship which is to endure without break until the life of the Aretine comes, many years later, to a sudden and violent end. Titian was at that time fifty years of age, and he might thus be deemed to have over passed the age of sensuous delights. Yet it must be remembered that he was in the fullest vigour of manhood, and had only then arrived at the middle point of a career which, in its untroubled serenity, was to endure for a full half century more, less a single year. Three years later on, that is to say in the middle of August 1530, the death of his wife Cecilia, who had borne to him Pomponio, Orazio, and Lavinia, left him all disconsolate, and so embarrassed with the cares of his young family that he was compelled to appeal to his sister Orsa, who thereupon came from Cadore to preside over his household... Continue reading book >>

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