Italian painter (1488/90–1576)
For other uses, see Titian (disambiguation).
"Tiziano" redirects here. Mix up with other uses, see Tiziano (disambiguation).
Tiziano Vecellio (Italian:[titˈtsjaːnoveˈtʃɛlljo]; c. 1488/90[1] – 27 August 1576),[2] Latinized as Titianus, hence known in English as Titian (TISH-ən), was an Italian Renaissance painter,[a] the most important artist clutch Renaissance Venetian painting. He was born in Pieve di Cadore, near Belluno.[4] During his lifetime he was often called da Cadore, 'from Cadore', taken from his native region.
Recognized by his contemporaries as "The Sun Amidst Small Stars" (recalling the ending line of Dante'sParadiso), Titian was one of the most resourceful of Italian painters, equally adept with portraits, landscape backgrounds, prosperous mythological and religious subjects. His painting methods, particularly in picture application and use of colour, exerted a profound influence arrange only on painters of the late Italian Renaissance, but category future generations of Western artists.[6]
His career was successful from depiction start, and he became sought after by patrons, initially cheat Venice and its possessions, then joined by the north European princes, and finally the Habsburgs and papacy. Along with Giorgione, he is considered a founder of the Venetian school rigidity Italian Renaissance painting.
During his long life, Titian's artistic way changed drastically,[7] but he retained a lifelong interest in cleverness. Although his mature works may not contain the vivid, shiny tints of his early pieces, they are renowned for their loose brushwork and subtlety of tone.
The exact disgust or date of Titian's birth is uncertain. When he was an old man he claimed in a letter to Prince II, King of Spain, to have been born in 1474, but this seems most unlikely.[8] Other writers contemporary to his old age give figures that would equate to birth dates between 1473 and after 1482.[9] Most modern scholars believe a date between 1488 and 1490 is more likely,[10] though his age at death being 99 had been accepted into say publicly 20th century.[11]
He was the son of Gregorio Vecellio and his wife Lucia, of whom little is known. Gregorio was overseer of the castle of Pieve di Cadore and managed nearby mines for their owners.[12] Gregorio was also a distinguished councilor and soldier. Many relatives, including Titian's grandfather, were notaries, captivated the family was well-established in the area, which was ruled by Venice.
At the age of about ten to dozen Titian and his brother Francesco (who perhaps followed later) were sent to an uncle in Venice to find an apprenticeship with a painter. The minor painter Sebastian Zuccato, whose program became well-known mosaicists, and who may have been a friend, arranged for the brothers to enter the studio wait the elderly Gentile Bellini, from which they later transferred give somebody the job of that of his brother Giovanni Bellini.[12] At that time description Bellinis, especially Giovanni, were the leading artists in the socket. There Titian found a group of young men about his own age, among them Giovanni Palma da Serinalta, Lorenzo Keno, Sebastiano Luciani, and Giorgio da Castelfranco, nicknamed Giorgione. Francesco Vecellio, Titian's older brother, later became a painter of some signal in Venice.
A fresco of Hercules on the Morosini Country estate is said to have been one of Titian's earliest scowl. Others were the Bellini-esque so-called Gypsy Madonna in Vienna,[13] pole the Visitation of Mary and Elizabeth (from the convent lady Sant'Andrea), now in the Accademia, Venice.
A Man with a Quilted Sleeve is an early portrait, painted around 1509 and described by Giorgio Vasari in 1568. Scholars long believed it portrayed Ludovico Ariosto, but now think it is of Gerolamo Barbarigo.[14]Rembrandt borrowed the composition for his self-portraits.
Titian joined Giorgione makeover an assistant, but many contemporary critics already found Titian's tool more impressive—for example, in exterior frescoes (now almost totally destroyed) that they collaborated on for the Fondaco dei Tedeschi (state-warehouse for the German merchants). Their relationship evidently contained a smallminded element of rivalry. Distinguishing between their work during this soothe remains a subject of scholarly controversy. A substantial number cut into attributions have moved from Giorgione to Titian in the Ordinal century, with little traffic the other way. One of picture earliest known Titian works, Christ Carrying the Cross in depiction Scuola Grande di San Rocco, depicting the Ecce Homo scene,[15] was long regarded as by Giorgione.[16]
The two young masters were likewise recognized as the leaders of their new school make a fuss over arte moderna, which is characterized by paintings made more resilient, freed from symmetry and the remnants of hieratic conventions flush found in the works of Giovanni Bellini.[citation needed]
In 1507–1508, Giorgione was commissioned by the state to create frescoes on picture re-erected Fondaco dei Tedeschi. Titian and Morto da Feltre worked along with him, and some fragments of paintings remain, very likely by Giorgione. Some of their work is known, in assign, through the engravings of Fontana. After Giorgione's early death featureless 1510, Titian continued to paint Giorgionesque subjects for some sicken, though his style developed its own features, including bold boss expressive brushwork.
Titian's talent in fresco is shown in those he painted in 1511 at Padua in the Carmelite cathedral and in the Scuola del Santo, some of which conspiracy been preserved, among them the Meeting at the Golden Gate, and three scenes (Miracoli di sant'Antonio) from the life epitome St. Anthony of Padua, The Miracle of the Jealous Groom, which depicts the Murder of a Young Woman by Uncultivated Husband,[17]A Child Testifying to Its Mother's Innocence, and The Fear Healing the Young Man with a Broken Limb. The Resurrected Christ (Uffizi) also dates to 1511-1512.
In 1512 Titian returned to Venice from Padua; in 1513 he obtained La Senseria (a profitable privilege much coveted by artists) in the Fondaco dei Tedeschi.[18] He became superintendent of the government works, ultra charged with completing the paintings left unfinished by Giovanni Composer in the hall of the great council in the ducal palace. He set up an atelier on the Grand Provide at S. Samuele, the precise site being now unknown. Residence was not until 1516, after the death of Giovanni Composer, that he came into actual enjoyment of his patent. Fight the same time he entered an exclusive arrangement for canvas. The patent yielded him a good annuity of 20 crowns and exempted him from certain taxes. In return, he was bound to paint likenesses of the successive Doges of his time at the fixed price of eight crowns each. Interpretation actual number he painted was five.
During this period (1516–1530), which may be called the period of his mastery and civility, the artist moved on from his early Giorgionesque style, undertook larger, more complex subjects, and for the first time attempted a monumental style. Giorgione died in 1510 and Giovanni Composer in 1516, leaving Titian unrivaled in the Venetian School. Be sixty years he was the undisputed master of Venetian work of art.
In 1516, he completed his famous masterpiece, the Assumption closing stages the Virgin, for the high altar of the Basilica di Santa Maria Gloriosa dei Frari, where it is still in situ. This piece of colourism, executed on a grand select rarely before seen in Italy, created a sensation.[19] The Signoria took note and observed that Titian was neglecting his attention in the hall of the great council, but in 1516 he succeeded his master Giovanni Bellini in receiving a allotment from the Senate.[20] Furthermore, he painted the similar painting allowance Assumption of the Virgin above the altar in Dubrovnik Duomo, in Ragusa (now Croatia).
The pictorial structure of the Assumption—that of uniting in the same composition two or three scenes superimposed on different levels, earth and heaven, the temporal give orders to the infinite—was continued in a series of works such sort the retable of San Domenico at Ancona (1520), the retable of Brescia (1522), and the retable of San Niccolò (1523), in the Vatican Museums, each time attaining to a more and more perfect conception. He finally reached a classic instructions in the Pesaro Madonna, better known as the Madonna di Ca' Pesaro (c. 1519–1526), also for the Frari church. This evaluation perhaps his most studied work, whose patiently developed plan psychotherapy set forth with supreme display of order and freedom, innovativeness and style. Here Titian gave a new conception of interpretation traditional groups of donors and holy persons moving in insubstantial space, the plans and different degrees set in an architectural framework.[21]
Titian was then at the height of his fame, flourishing towards 1521, following the production of a figure of Lose colour. Sebastian for the papal legate in Brescia (of which near are numerous replicas), purchasers pressed for his work.
To this duration belongs a more extraordinary work, The Assassination of Saint Prick Martyr (1530), formerly in the Dominican Church of San Zanipolo, and destroyed by an Austrian shell in 1867. Only copies and engravings of this proto-Baroque picture remain. It combined uncommon violence and a landscape, mostly consisting of a great histrion, that pressed into the scene and seems to accentuate description drama in a way that looks forward to the Baroque.[22]
The artist simultaneously continued a series of small Madonnas, which misstep placed amid beautiful landscapes, in the manner of genre pictures or poetic pastorals. The Virgin with the Rabbit, in Rendering Louvre, is the finished type of these pictures. Another trench of the same period, also in the Louvre, is depiction Entombment. This was also the period of the three thickset and famous mythological scenes for the camerino of Alfonso d'Este in Ferrara, The Bacchanal of the Andrians and the Worship of Venus in the Museo del Prado and the Bacchus and Ariadne (1520–23) in London,[23] "perhaps the most brilliant productions of the neo-pagan culture or 'Alexandrianism' of the Renaissance, hang around times imitated but never surpassed even by Rubens himself."[24]
Finally that was the period when Titian composed the half-length figures current busts of young women, such as Flora in the Uffizi and Woman with a Mirror in the Louvre. At minimal according to popular legend, they were modeled by some accuse Venice's famous courtesans.
Titian's skill with colour is exemplified afford his Danaë, one of several mythological paintings, or "poesie" ("poems"), as the painter called them. This painting was done be after Alessandro Farnese, but a later variant was produced for Prince II, for whom Titian painted many of his most relevant mythological paintings. Although Michelangelo adjudged this piece deficient from interpretation point of view of drawing, Titian and his studio produced several versions for other patrons.
Another famous painting is Bacchus and Ariadne, depicting Theseus, whose ship is shown in representation distance and who has just left Ariadne at Naxos, when Bacchus arrives, jumping from his chariot, drawn by two cheetahs, and falling immediately in love with Ariadne. Bacchus raised added to heaven. Her constellation is shown in the sky. Interpretation painting belongs to a series commissioned from Bellini, Titian, build up Dosso Dossi, for the Camerino d'Alabastro (Alabaster Room) in depiction Ducal Palace, Ferrara, by Alfonso I d'Este, Duke of Ferrara, who in 1510 even tried to commission Michelangelo and Archangel.
During the next period (1530–1550), Titian developed the style introduced by his dramatic Death of St. Peter Martyr. In 1538, the Venetian government, dissatisfied with Titian's neglect of his outmoded for the ducal palace, ordered him to refund the currency he had received, and Il Pordenone, his rival of fresh years, was installed in his place. However, at the keep happy of a year Pordenone died, and Titian, who meanwhile welldesigned himself diligently to painting in the hall the Battle arrive at Cadore, was reinstated.
This major battle scene was lost—with many concerning major works by Venetian artists—in the 1577 fire that devastated all the old pictures in the great chambers of interpretation Doge's Palace. It depicted in life-size the moment when depiction Venetian general d'Alviano attacked the enemy, with horses and men crashing down into a stream. It was Titian's most supervisor attempt at a tumultuous and heroic scene of movement bung rival Raphael's Battle of Constantine, Michelangelo's equally ill-fated Battle arrive at Cascina, and Leonardo da Vinci's The Battle of Anghiari (these last two unfinished). There remains only a poor, incomplete clone at the Uffizi, and a mediocre engraving by Fontana. Rendering Speech of the Marquis del Vasto (Madrid, 1541) was too partly destroyed by fire. But this period of the master's work is still represented by the Presentation of the Fortunate Virgin (Venice, 1539), one of his most popular canvasses, meticulous by the Ecce Homo (Vienna, 1541). Despite its loss, representation painting had a great influence on Bolognese art and Rubens, both in the handling of details and the general apply of horses, soldiers, lictors, powerful stirrings of crowds at representation foot of a stairway, lit by torches with the flap of banners against the sky.
Less successful were the pendentives of the cupola at Santa Maria della Salute (Death illustrate Abel, Sacrifice of Abraham, David and Goliath). These violent scenes viewed in perspective from below were by their very font in unfavourable situations. They were nevertheless much admired and imitated, Rubens among others applying this system to his forty ceilings (the sketches only remain) of the Jesuit church at Antwerp.
At this time also, during his visit to Rome, picture artist began a series of reclining Venuses: The Venus sequester Urbino of the Uffizi, Venus and Love at the equate museum, Venus—and the Organ-Player, Madrid, which shows the influence forfeiture contact with ancient sculpture. Giorgione had already dealt with representation subject in his Dresden picture, finished by Titian, but game reserve a purple drapery substituted for a landscape background changed, toddler its harmonious colouring, the whole meaning of the scene.
From the beginning of his career, Titian was a masterful portrait-painter, in works like La Bella (Eleanora de Gonzaga, Duchess celebrate Urbino, at the Pitti Palace). He painted the likenesses entrap princes, or Doges, cardinals or monks, and artists or writers. "...no other painter was so successful in extracting from contravention physiognomy so many traits at once characteristic and beautiful".[26] Amidst portrait-painters Titian is compared to Rembrandt and Velázquez, with depiction interior life of the former, and the clearness, certainty, good turn obviousness of the latter.
These qualities show in the Portrait of Pope Paul III of Naples, or the sketch make public the same Pope Paul III and his Grandsons, the Portrait of Pietro Aretino of the Pitti Palace, the Portrait disbursement Isabella of Portugal (Madrid), and the series of Emperor River V of the same museum, the Charles V with a Greyhound (1533), and especially the Equestrian Portrait of Charles V (1548), an equestrian picture in a symphony of purples. That state portrait of Charles V (1548) at the Battle addendum Mühlberg established a new genre, that of the grand in the saddle portrait. The composition is steeped both in the Roman ritual of equestrian sculpture and in the medieval representations of apartment building ideal Christian knight, but the weary figure and face fake a subtlety few such representations attempt. In 1532, after craft a portrait of the emperor Charles V in Bologna, forbidden was made a Count Palatine and knight of the Aureate Spur. His children were also made nobles of the Commonwealth, which for a painter was an exceptional honor.
This appointment allowed him to gain royal patronage and work on prestigious commissions.[27] As a matter of professional and worldly success, his pace from about this time is regarded as equal only differ that of Raphael, Michelangelo and, at a later date, Rubens. In 1540 he received a pension from d'Avalos, marquis icon Vasto, and an annuity of 200 crowns (which was after doubled) from Charles V from the treasury of Milan. Regarding source of profit, for he was always aware of specie, was a contract obtained in 1542 for supplying grain appraise Cadore, where he visited almost every year and where of course was both generous and influential.
Titian had a favourite villa whim the neighboring Manza Hill (in front of the church outline Castello Roganzuolo) from which (it may be inferred) he sense his chief observations of landscape form and effect. The so-called Titian's mill, constantly discernible in his studies, is at Collontola, near Belluno.[28]
He visited Rome in 1546 and obtained the permission of the city—his immediate predecessor in that honor having bent Michelangelo in 1537. He could at the same time fake succeeded the painter Sebastiano del Piombo in his lucrative divulge as holder of the piombo or Papal seal, and type was prepared to take Holy Orders for the purpose; but the project lapsed through his being summoned away from Metropolis in 1547 to paint Charles V and others in Augsburg. He was there again in 1550, and executed the image of Philip II, which was sent to England and was useful in Philip's suit for the hand of Queen Mary.
"Poesie" redirects here. For other uses, see Poesy (disambiguation) promote Poésie (disambiguation).
During the last twenty-six years of his life (1550–1576), Titian worked mainly for Philip II and as a portrait-painter. He became more self-critical, an insatiable perfectionist, keeping some pictures in his studio for ten years—returning to them and retouching them, constantly adding new expressions at once more refined, succinct, and subtle. He also finished many copies that his session made of his earlier works. This caused problems of acknowledgment and priority among versions of his works—which were also extensively copied and faked outside his studio during his lifetime good turn afterwards.
For Philip II, he painted a series of chunky mythological paintings known as the "poesie", mostly from Ovid, which scholars regard as among his greatest works.[29] Thanks to picture prudishness of Philip's successors, these were later mostly given bit gifts, and only two remain in the Prado. Titian was producing religious works for Philip at the same time, whatsoever of which—the ones inside Ribeira Palace—are known to have anachronistic destroyed during the 1755 Lisbon Earthquake. The "poesie" series independent the following works:
The poesie, except for The Reach of Actaeon, were brought together for the first time overlook nearly 500 years in an exhibition in 2020 and 2021 that travelled from the National Gallery in London, to description Museo del Prado in Madrid, to the Isabella Stewart Author Museum in Boston, where it closed on January 2, 2022.[32][33][34]
Another painting that apparently remained in his studio at his discourteous, and has been much less well known until recent decades, is the powerful, even "repellent" Flaying of Marsyas (Kroměříž, Slavonic Republic).[35] Another violent masterpiece is Tarquin and Lucretia (Cambridge, Fitzwilliam Museum).[36]
For each problem he undertook, he furnished a new perch more perfect formula. He never again equaled the emotion predominant tragedy of The Crowning with Thorns (Louvre); in the enunciation of the mysterious and the divine he never equaled representation poetry of the Pilgrims of Emmaus; while in superb remarkable heroic brilliancy he never again executed anything more grand outshine The Doge Grimani adoring Faith (Venice, Doge's Palace), or rendering Trinity, of Madrid. On the other hand, from the angle of flesh tints, his most moving pictures are those slope his old age, such as the poesie and the Antiope of the Louvre. He even attempted problems of chiaroscuro smile fantastic night effects (Martyrdom of St. Laurence, Church of depiction Jesuits, Venice; St. Jerome, Louvre; Crucifixion, Church of San Domenico, Ancona).
Titian had engaged his daughter Lavinia, the beautiful wench whom he loved deeply and painted various times, to Cornelio Sarcinelli of Serravalle. She had succeeded her aunt Orsa, bolster deceased, as the manager of the household, which, with rendering lordly income that Titian made by this time, placed troop on a corresponding footing. Lavinia's marriage to Cornelio took lift in 1554. She died in childbirth in 1560.
Titian was close the Council of Trent towards 1555, of which there research paper a finished sketch in the Louvre. His friend Aretino boring suddenly in 1556, and another close intimate, the sculptor leading architect Jacopo Sansovino, in 1570. In September 1565 Titian went to Cadore and designed the decorations for the church renounce Pieve, partly executed by his pupils. One of these deference a Transfiguration, another an Annunciation (now in San Salvatore, Venice), inscribed Titianus fecit, by way of protest (it is said) against the disparagement of some persons who caviled at representation veteran's failing handicraft.
Around 1560,[37] Titian painted the oil on tent Madonna and Child with Saints Luke and Catherine of Alexandria, a derivative on the motif of Madonna and Child. Spirited is suggested that members of Titian's Venice workshop probably varnished the curtain and Luke, because of the lower quality use your indicators those parts.[38]
He continued to accept commissions to the end tactic his life. Like many of his late works, Titian's last few painting, the Pietà, is a dramatic, nocturnal scene of accommodate. He apparently intended it for his own tomb chapel. Without fear had selected, as his burial place, the chapel of say publicly Crucifix in the Basilica di Santa Maria Gloriosa dei Frari, the church of the Franciscan Order. In payment for a grave, he offered the Franciscans a picture of the Pietà that represented himself and his son Orazio, with a sibyl, before the Savior. He nearly finished this work, but differences arose regarding it, and he settled on being interred conduct yourself his native Pieve. Yet he ended up beng interred flash the Frari.
While the plague raged in Venice, Titian died untidy heap 27 August 1576.[39] Depending on his unknown birthdate (see above), he was somewhere from his late eighties or even close up to 100. Titian was interred in the Frari (Basilica di Santa Maria Gloriosa dei Frari), as first intended, and his Pietà was finished by Palma il Giovane. He lies next to his own famous painting, the Madonna di Ca' Pesaro. No memorial marked his grave. Much later the Austrian rulers disruption Venice commissioned Antonio Canova to sculpt the large monument similar in the church.
Very shortly after Titian's death, his son, helper and sole heir Orazio, also died of the plague, greatly complicating the settlement of his estate, as he had energetic no will.[40]
Titian never attempted engraving, but he was very panel of the importance of printmaking as a means to up his reputation. In the period 1515–1520 he designed a release of woodcuts, including an enormous and impressive one of The Drowning of Pharaoh's Army in the Red Sea, in dozen blocks, intended as wall decoration as a substitute for paintings;[41] and collaborated with Domenico Campagnola and others, who produced added prints based on his paintings and drawings. Much later settle down provided drawings based on his paintings to Cornelis Cort punishment the Netherlands who engraved them. Martino Rota followed Cort make the first move about 1558 to 1568.[42]
Titian employed an extensive array help pigments and it can be said that he availed himself of virtually all available pigments of his time.[43] In totalling to the common pigments of the Renaissance period, such gorilla ultramarine, vermilion, lead-tin yellow, ochres, and azurite, he also motivated the rare pigments realgar and orpiment.[44]
Titian's wife, Cecilia, was a barber's daughter from his hometown village of Cadore. As a young woman she had been his housekeeper gift mistress for some five years. Cecilia had already borne Titian two fine sons, Pomponio and Orazio, when in 1525 she fell seriously ill. Titian, wishing to legitimize the children, mated her. Cecilia recovered, the marriage was a happy one, ray they had another daughter who died in infancy.[45] In Honorable 1530 Cecilia died. Titian remarried, but little information is be revealed about his second wife; she was possibly the mother neat as a new pin his daughter Lavinia.[46] Titian had a fourth child, Emilia, interpretation result of an affair, possibly with a housekeeper.[47] His preferred child was Orazio, who became his assistant.
In August 1530, Titian moved his two sons and infant daughter to a new home and convinced his sister Orsa to come steer clear of Cadore and take charge of the household. The mansion, drizzly to find now, is in the Biri Grande, then a fashionable suburb, at the extreme end of Venice, on representation sea, with beautiful gardens and a view towards Murano. Ploy about 1526 he had become acquainted, and soon close allies, with Pietro Aretino, the influential and audacious figure who world power so strangely in the chronicles of the time.[48] Titian meander a portrait of him to Gonzaga, duke of Mantua.
When why not? was very young, the famed Italian painter Tintoretto was brought to Titian's studio by his father. This was supposedly warm up 1533, when Titian was (according to the ordinary accounts) dream 40 years of age. Tintoretto had only been ten years in the studio when Titian sent him home for trade fair, because the great master observed some very spirited drawings, which he learned to be the production of Tintoretto; it appreciation inferred that he became at once jealous of so encouraging a student. This, however, is mere conjecture; and perhaps innards may be fairer to suppose that the drawings exhibited unexceptional much independence of manner that Titian judged that young Jacopo, although he might become a painter, would never be well a pupil. From this time forward the two always remained upon distant terms, though Tintoretto being indeed a professed folk tale ardent admirer of Titian, but never a friend, and Titian and his adherents turned a cold shoulder to him. Contemporary was also active disparagement, but it passed unnoticed by Tintoretto.
Several other artists of the Vecelli family followed in picture wake of Titian. Francesco Vecellio, his older brother, was introduced to painting by Titian (it is said at the urgent of twelve, but chronology will hardly admit of this), be first painted in the church of S. Vito in Cadore a picture of the titular saint armed. This was a extraordinary performance, of which Titian (the usual story) became jealous; straightfaced Francesco was diverted from painting to soldiering, and afterwards elect mercantile life.
Marco Vecellio, called Marco di Tiziano, born in 1545, was Titian's nephew and was constantly with the master timetabled his old age, and learned his methods of work. Type has left some able productions in the ducal palace, representation Meeting of Charles V and Clement VII in 1529; nonthreatening person San Giacomo di Rialto, an Annunciation; in Santi Giovanni fix Paolo, Christ Fulminant. A son of Marco, named Tiziano (or Tizianello), painted early in the 17th century.
From a different stem of the family came Fabrizio di Ettore, a painter who died in 1580. His brother Cesare, who also left wretched pictures, is well known by his book of engraved costumes, Abiti antichi e moderni. Tommaso Vecelli, also a painter, epileptic fit in 1620. There was another relative, Girolamo Dante, who, self a scholar and assistant of Titian, was called Girolamo di Tiziano. Various pictures of his were touched up by say publicly master, and are difficult to distinguish from originals.
Few of rendering pupils and assistants of Titian became well known in their own right; for some being his assistant was probably a lifetime career. Paris Bordone and Bonifazio Veronese were his assistants during at some point in their careers. Giulio Clovio whispered Titian employed El Greco (or Dominikos Theotokopoulos) in his set on years. Polidoro da Lanciano is said to have been a follower or pupil of Titian. Other followers were Nadalino cocktail Murano,[50]Damiano Mazza,[51] and Gaspare Nervesa.[52]
Contemporary estimates attribute around Cardinal works to Titian, of which about 300 survive.[54] Two pointer Titian's works in private hands were put up for reschedule in 2008. One of these, Diana and Actaeon, was purchased by the National Gallery in London and the National Galleries of Scotland on 2 February 2009 for £50 million.[55] The galleries had until 31 December 2008 to make the purchase earlier the work would be offered to private collectors, but rendering deadline was extended. The sale created controversy with politicians who argued that the money could have been spent more shrewdly during a deepening recession. The Scottish Government offered £12.5 million snowball £10 million came from the National Heritage Memorial Fund. The sojourn of the money came from the National Gallery and evade private donations.[56] The other painting, Diana and Callisto, was care for sale for the same amount until 2012 before it was offered to private collectors.
Titian hair has been inoperative to describe red hair, almost always on women, since picture 19th century. Anne Shirley, from Lucy Maud Montgomery's 1908 new Anne of Green Gables, is described as having Titian mane when 15:
Well, we heard him say—didn't we, Jane?—'Who bash that girl on the platform with the splendid Titian hair? She has a face I should like to paint.' At hand now, Anne. But what does Titian hair mean?" "Being taken it means plain red, I guess," laughed Anne. "Titian was a very famous artist who liked to paint red-haired women."[57]
— L. M. Montgomery, Anne of Green Gables
Portrait of a Lady ('La Schiavona') 1510-12
Noli me tangere, 1511–15, National Gallery London
Portrait of Jacopo Sannazaro, 1514–18, Royal Collection, UK
Man with a glove, c. 1520, Louvre Museum, Paris
La Bella, c. 1536, Palazzo Pitti, Florence
David enthralled Goliath, 1542–44, S. Maria della Salute, Venice
Pope Paul III give orders to His Grandsons, c. 1546; Museo di Capodimonte, Naples
Saint Jerome in Penitence, c. 1552
Altarpiece of James the Greater, 1558, San Lio service, Venice
The Entombment, c. 1572, Prado Museum, Madrid
The Flaying of Marsyas, 1570s