Titian: 1552-1565


Book Description

"Hugely ambitious, 'Titian: Sources and Documents' includes all known documents about Titian and his work dating from his lifetime, and all known references to him in contemporary publications. The relevant section of each text is transcribed in full, preceded by a short summary in English, with extensive annotation and, where necessary, a commentary. The intention of this incredible work of scholarship is to provide a comprehensive survey of the surviving historical evidence about Titian and his career. The collection, amounting to over two thousand nine hundred items, includes not only texts specifically about Titian himself, but also those concerning his siblings and children, his principal assistants and the other members of the Vecellio family already active as painters before his death, as well as inscriptions on paintings and prints. In addition to texts dating from Titian's lifetime, the collection includes all biographical material published before 1700 and all other texts that could realistically be thought to reflect first- or second-hand anecdotal information about him. The particular strengths and limitations of the principal early printed sources and the circumstances in which they were produced are discussed in a substantial introduction, which also includes an overview of the main archival collections consulted in the preparation of the book. Most of these are in Italy, but others are in Spain, Austria and Germany. New transcriptions are provided for the great majority of the documents that have previously been published, and many hitherto unknown documents have been included. Consideration is given also to documents now known only via secondary sources, and to fake documents, of which a significant number were produced in the past two centuries."--










The Paintings of Titian


Book Description







Titian to 1518


Book Description

The work that Titian produced during the first decade of his career is beautiful and varied, but it has raised many questions of attribution and chronology. This book - the first thorough and coherent account of this period in Titian's life - reconstructs what he painted, when he painted it and what these paintings mean. Paul Joannides begins by discussing the probable course of Titian's early career and his relationship to the Bellinis. There are individual excurses on Giorgione and on Sebastiano del Piombo whose work has often been confused with his. Joannides then offers new interpretations of some of Titian's paintings, emphasising their poetic and dramatic qualities. Among other topics, he associates for the first time the paintings in Saint Petersburg, Venice and Houston; lays out Titian's part of the Fondaco; connects the privately owned Resurrected Christ with the Fogg Circumcision; integrates the Dresden Venus and the Berlin Portrait into Titian's work; and establishes the dynamism and inventiveness of the great Assunta of 1516-18. Joannides provides detailed arguments in support of both new and familiar attributions, proposes a more closely reasoned and precise chronology







Problems in Titian, Mostly Iconographic


Book Description

"Titian's fame as the greatest colorist in the history of painting has led students of his art to concentrate on problems of style and authenticity rather than on problems of content and meaning. Dr. Panofsky treats this neglected aspect of the Venetian master's work with a wealth of humanistic scholarship, exploring such varied topics as Titian's relationship to the philosophy and literature of his time, his attitude toward the antique, and the reasons behind his unrivaled acclaim as a portraitist. These studies show Titian to have been a man of far richer and more complex culture than hitherto assumed, possessed not only of the supremely gifted hand but of a subtle and poetic mind. Dr. Panofsky thus deepens our insight into the workings of a great artist's imagination and guides us to a fuller understanding of his genius. At the time Dr. Panofsky was preparing this book for publication, he wrote: "The illustrations were made from the best available originals and are all in black-and-white not in spite of but because of the fact that Titian was the greatest colorist that ever lived."--Book jacket.