Submit Response is a weblog by Jack Mottram, a Titian: Really Rather Good at Painting
Titian at the National Gallery.
Bacchus and Ariadne, 1520-3
The Entombment, 1559
I wonder what the chances are of no one in London having heard about this, so I can go and look at the paintings instead of the backs of a thousand art-consuming heads.
You can’t really tell from the reproductions above, but it’s later works like The Entombment that I really want to see, where Titian dropped his earlier sculptural precision and began to loosely describe his subjects, using really wild brush-strokes, dissolving form into colour and light and generally sticking up two fingers to the Florentine tradition, thereby changing painting forever. Nice one. As the two paintings above show, this didn’t exactly dim his ardour for vermillion and lapis lazuli.
ah, you’d be surprised! the exhibition’s been talked about on the radio stations in london, some of my friends at uni want to go too. oh, and a fun [this guy is one of the highlights of my degree] lecturer mentioned it the other day, dix points for cultcha.*
And Titian = dark auburn, and thus is great. [smile]
Posted by Simone at 11pm on 23.02.03
Hello! I am a History of Art student at University College London. I am currently doing a project on 6 of the pigments in Titian�s �Bacchus and Ariadne�: Ultramarine, azurite, vermilion, verdigris, lead tin yellow and orpiment. I am both discussing the pigments and describing Titian�s and other artists� use of them. It would be a great help and welcomed addition to my project if you could offer any further information on the pigments or on Titian�s techniques.
Thank you so much,
Jenna Al-sakar.
Posted by jenna at 2pm on 10.11.04
To: Jenna Al-sakar:
Your query is three years old already, so you will probably no longer need this. But if you examine Titian’s painting anamorphically, you willl find he was the king of adding hidden social comment. His work, Joseph and the Wife of Potiphar which is a personal chattel, has over 100 such, in which he particularly denigrates the female involved with biblical and local put downs. As well, it contains problems which Titian had to overcome; proportions, for instance.
If you are still intersted, I can send you enough to make a
complete volume on this one painting, but it is far more interesting when combined with comparisons to his other works.
Submitted by Barie O’Leary
potifar@optusnet.com.au
9 November, 2007
Posted by Barrie O'Leary at 12am on 09.11.07