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Ruma/Yulia

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Kaunis/Yulia

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brushstrokes - Sol Lewitt - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world’s treasures online.

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After the encounter with Italian Futurism, French Cubism and the works inspired by the notion of Orphism as promulgated by Robert Delaunay, whom he had visited with his close friend August Macke 1912 in Paris, Marc's works are characterized by a breaking down of the representational into abstract, prismatic forms with rhythmically harmonized colours. And the spiritual dimension was of great importance: In the spirit of religious-pantheistic sensation, animals became a key theme, presented in harmony with nature as representatives of the eternal cosmos. In Marc's exploration of the symbolism of colour, he created pictures of animals - such as The Foxes from 1913 - whose crystalline composition and transparent penetration of colours recall windows in medieval churches. The development towards a complete abstraction as had been effected in Kandinsky's work at the same time does not appear to be far away. However, Franz Marc died in March 1916 on the battlefield near Verdun, France. (Sophia Stang)

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The Foxes - Franz Marc - Google Arts & Culture

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After the encounter with Italian Futurism, French Cubism and the works inspired by the notion of Orphism as promulgated by Robert Delaunay, whom he had visited with his close friend August Macke 1912 in Paris, Marc's works are characterized by a breaking down of the representational into abstract, prismatic forms with rhythmically harmonized colours.

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This is the drowning Ophelia from Shakespeare's play Hamlet. Picking flowers she slips and falls into a stream. Mad with grief after her father's murder by Hamlet, her lover, she allows herself to die. The flowers she holds are symbolic: the poppy means death, daisies innocence and pansies love in vain.The painting was regarded in its day as one of the most accurate and elaborate studies of nature ever made. The background was painted from life by the Hogsmill river in Surrey. Elizabeth Siddal posed for Ophelia in a bath of water kept warm by lamps underneath.

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Ophelia - Sir John Everett Millais - Google Arts & Culture

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This is the drowning Ophelia from Shakespeare's play Hamlet. Picking flowers she slips and falls into a stream. Mad with grief after her father's murder by...

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Synkän kaunis ja fantasiamainen/unimainen. Sopivat värit ja asetelma.
Surrealistinen.

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Policeman in wombat hole - Sidney Nolan - Google Arts & Culture

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This painting is one of Nolan’s most whimsical works from the Stringybark Creek series. Of the four policemen involved in the Kelly gang’s ambush at String…

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Värit häiritsevät, mutta kuviot kuitenkin kivat. Minimalistinen.

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Wall Drawing #915 - Sol LeWitt - Google Arts & Culture

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Wifredo Óscar de la Concepción Lam y Castilla, better known as Wifredo Lam, was a Cuban artist who sought to portray and revive the enduring Afro-Cuban spirit and culture. Inspired by and in contact with some of the most renowned artists of the 20th century, e.g., Pablo Picasso, Henri Matisse, Frida Kahlo and Diego Rivera. Lam melded his influences and created a unique style, which was ultimately characterized by the prominence of hybrid figures. This distinguished visual style of his also influences a lot of artists. Though he was predominantly a painter, he also worked with sculpture, ceramics and printmaking in his later life.

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Wifredo Óscar de la Concepción Lam y Castilla, better known as Wifredo Lam, was a Cuban artist who sought to portray and revive the enduring Afro-Cuban spirit and culture. Inspired by and in contact with some of the most renowned artists of the 20th century, e.g., Pablo Picasso, Henri Matisse, Frida Kahlo and Diego Rivera.

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Kaunis/ Anton

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The seascape, stunning for its metaphysical tone and almost unreal quality, is illuminated by a very soft, delicate light. Like Botticelli's other masterpiece, Pallas and the Centaur, the Birth of Venus is painted on canvas - fairly unusual for its time - using a technique of thin tempera, based on the use of diluted egg yolk, which lends itself particularly well to give the painting that aspect of extraordinary transparency, which brings to mind the pictorial quality of a fresco.

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Zoom Into 'The Birth of Venus' - Google Arts & Culture

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The seascape, stunning for its metaphysical tone and almost unreal quality, is illuminated by a very soft, delicate light. Like Botticelli's other masterpiece, Pallas and the Centaur, the Birth of Venus is painted on canvas - fairly unusual for its time - using a technique of thin tempera, based on the use of diluted egg yolk, which lends itself particularly well to give the painting that aspect of extraordinary transparency, which brings to mind the pictorial quality of a fresco.

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Ruma/Jimi M

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Best known for her large-scale, primitive-looking figures of women executed in terracotta, Azade Köker has also successful produced works of photography in recent years. Her photographs are closely linked to her sculptures in terms of content and expressive language. A straightforward but intelligent relationship between the 'simple' and 'primitive' can be observed in her work.

This work, entitled 'Landscape of Silence,' explores how reality and illusion can be seen at the same time. This is a forest landscape in which we are confined. The composition, where skulls are superimposed, refers to 'bodily division' -as the artist puts it-, isolation, and beauty. This arrangement also connotes transience and an 'end.' The artist chooses to call this unknown future 'third world.' This is an area where events beyond human control may happen. The work leads us to reflect on the impact of the skulls and of the 'silent' natural landscape, on cycles that complete themselves such as death and destruction.

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Landscape of Silence - Azade Köker - Google Arts & Culture

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Best known for her large-scale, primitive-looking figures of women executed in terracotta, Azade Köker has also successful produced works of photography in recent years. Her photographs are closely linked to her sculptures in terms of content and expressive language. A straightforward but intelligent relationship between the 'simple' and 'primitive' can be observed in her work.

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Ruma/ Anton

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After the division of the Netherlands into the Calvinist north and the Catholic south, Flemish artists revisited and revitalized old religious motifs to revive the Catholic tradition. And Craesbeeck's painting is a prime example of this.
The hermit Anthony has withdrawn to a distant stretch of coastline, but even here temptation seeks out the pious. A bright light illuminates the dark space and the eerie events occurring there. Anthony is seen sitting in front of his shelter, clutching the Scriptures to fortify himself. The sea washes up a flock of evil spirits that press in on him, with the closest being a lascivious woman. The scene is dominated, however, by the giant head of a man, from which countless devils arise, as evil thoughts given physical form - while the man himself looks on in horror and the products of his mind. In his forehead - a peeled-open gash - devilish beings have lodged themselves: among them, a painter, an eyeglass, and a bird's nest, leaving the viewer to wonder at their enigmatic meaning.
Craesbeeck wants to warn his fellow humankind. And by doing so he is following a popular medieval tradition: as the motif of the macabre head demonstrates, he was influenced by the 'diableries' of Hieronymus Bosch, Pieter Brueghel and their followers.
Craesbeeck was a pupil of Adriaen Brouwer and a contemporary of David Teniers. Even if one were to overlook the highly unusual subject, the painting in the Karlsruhe collection is an unmistakable work by Craesbeeck, purely in terms of its style, the colours, and the handling of light.

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The Temptation of Saint Anthony - Joos van Craesbeeck - Google Arts & Culture

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After the division of the Netherlands into the Calvinist north and the Catholic south, Flemish artists revisited and revitalized old religious motifs to revive the Catholic tradition. And Craesbeeck's painting is a prime example of this.The hermit Anthony has withdrawn to a distant stretch of coastline, but even here temptation seeks out the pious.

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Grace Kelly - Andy Warhol - Google Arts & Culture

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40 in. x 32 in. (101.6 cm x 81.28 cm). Serigraph on Board. Gift of the Andy Warhol Foundation for the Visual Arts. Extra, out of the edition. Designated fo…

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This painting is set in a garden in the Cotswolds village of Broadway, where John Singer Sargent stayed in the summer of 1885. The children lighting Japanese lanterns with tapers are Dolly (left) and Polly Barnard. Their father was the illustrator Frederick Barnard - a friend of Sargent's. Sargent wanted to capture the exact level of light at dusk so he painted the picture out of doors, in the Impressionist manner. As autumn came and the flowers died he resorted to painting flowers in pots. The title comes from the refrain of a popular song The Wreath by Joseph Mazzinghi.

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Carnation, Lily, Lily, Rose - John Singer Sargent - Google Arts & Culture

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This painting is set in a garden in the Cotswolds village of Broadway, where John Singer Sargent stayed in the summer of 1885. The children lighting Japane...

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Still Life with Pears and Lemons - Donald Sultan - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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Stati d'animo - Gli addii - Umberto Boccioni - Google Arts & Culture

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The "Stati d'animo" represent three episode of a departure from a railwaystation.

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While in Arles, Van Gogh made this painting of his bedroom, which he had fitted out with simple wooden furniture and his own art on the walls. By use of strong, contrasting colours, Van Gogh sought to express particular emotions: here the pale purple of the tiles, the yellow of the furniture and the light violet of the walls are intended to evoke the rest or sleep that he experienced in his bedroom. (See letter to Theo van Gogh, 16 October 1888).

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The Bedroom - Vincent van Gogh - Google Arts & Culture

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While in Arles, Van Gogh made this painting of his bedroom, which he had fitted out with simple wooden furniture and his own art on the walls. By use of st...

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The Musical Angel is a fragment of a lost altarpiece which probably depicted the Madonna and Child with Saints. Rosso was one of the principle exponents of early sixteenth century painting in Florence; both he and Pontormo were students of Andrea del Sarto. He brought Florentine mannerism to France where he was called by King Francis I to fresco the palace at Fontainebleau.

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Musical Angel - Rosso Fiorentino - Google Arts & Culture

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The Musical Angel is a fragment of a lost altarpiece which probably depicted the Madonna and Child with Saints. Rosso was one of the principle exponents of early sixteenth century painting in Florence; both he and Pontormo were students of Andrea del Sarto.

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Fragonard's brushwork is as much the subject of this painting as the young woman. A flurry of rapid marks captures her blushing face. Bold, fluid strokes of unblended color define her dress, ribbons, and cushion. Fragonard created the lace of her ruff (the frill around her neck) and the bodice of her dress by dragging his brush handle through the paint while it was still wet. _Young Girl Reading_ is part of the "fantasy portrait" series, in which Fragonard's friends and patrons are dressed in elaborate costumes. He supposedly painted each portrait in an hour. Like the others in the series, the girl in this painting originally faced the viewer, but Fragonard later repainted her absorbed in reading.

Details

Title: Young Girl Reading

Creator: Jean Honoré Fragonard

Date Created: c. 1769

Physical Dimensions: overall: 81.1 x 64.8 cm (31 15/16 x 25 1/2 in.) framed: 104.9 x 89.5 x 2.2 cm (41 5/16 x 35 1/4 x 7/8 in.)

Provenance: Verrier;[1] (his sale, Paillet at Hôtel d'Aligre, Paris, 11 March 1776 and days following, no. 80); purchased by Mailly or Neiully [_sic_]. (sale, Paillet at Hôtel d'Aligre, Paris, 7 February 1777, no. 15). Jean François Leroy de Sennéville [1715-1784], Paris; (his sale, Chariot and Paillet at Hôtel de Bullion, Paris, 5-11 April 1780, no. 59); purchased by Duquesnoy, Paris; (his sale, at his residence by Regnault, Paris, 1-3 March 1803, no. 19). (sale, Alliance des Arts, Paris, 26 April 1844, no. 14). Casimir Perrin, marquis de Cypierre [1783-1844], Paris; (his estate sale, at his residence by Thoré, Paris, 10 March 1845 and days following, no. 55). Comte Pierre de Kergorlay [1847-1919], by 1889.[2] (E. Gimpel and Wildenstein, Paris); sold 1899 to Ernest Cronier [1840-1905], Paris; (his estate sale, Galerie Georges Petit, Paris, 4-5 December 1905, 1st day, no. 8); purchased by Ducrey. Dr. Théodore Tuffier [1859-1929], Paris, by 1910 [or possibly purchased 1905 at Cronier sale through Ducrey], until at least 1928. (Wildenstein & Co., Inc., Paris, New York, and London); Alfred W. Erickson [1876-1936], New York, by 1930;[3] by inheritance to his wife, Anna Edith McCann Erickson [d. 1961], New York; (her sale, Parke-Bernet Galleries, New York, 15 November 1961, no. 16); purchased by NGA with funds provided by Ailsa Mellon Bruce [1901-1969], New York. [1] The first name in the provenance was published in the 2009 NGA Systematic Catalogue (entry on the painting by Richard Rand, in Philip Conisbee, et al. _French Paintings of the Fifteenth through the Eighteenth Century_. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 2009: no. 31, 160-166) as "Possibly comte du Barry, Paris," based on the provenance for the painting according to Georges Wildenstein, _The Paintings of Fragonard, complete edition_, New York, 1960: no. 391, and this was repeated throughout the literature. In the description of Sale Catalog F-A406, the Getty Provenance Index Database of sale catalogues corrects Wildenstein's inaccurate identification of the seller, but provides only the surname Verrier. Marie-Anne Dupuy-Vachey suggests that the seller might be Robert Charles Verrier, who died 11 May 1776 (see her article, "Fragonard's 'fantasy figures': prelude to a new understanding," _The Burlington Magazine_ 157, no. 1345 [April 2015]: 242-243). However, this is more likely to have been another individual by the same name, a Parisian expert who remained active on the art market through the latter part of the eighteenth century and who counted among the dealers of some importance. See Yuriko Jackall, _Fragonard: The Fantasy Figures_, exh. cat. National Gallery of Art, Washington, 2017: 52. [2] Jacques Dumont de Montroy, _Les Kergorlay dans l'Oise et en Normandie_, Beauvais, 2006: 167-170; Roger Portalis, _Honoré Fragonard: sa vie et son oeuvre_, 2 vols., Paris, 1889: 282. Comte Denis de Kergorlay kindly provided a copy of the 2006 book about his family, enabling the identification of the "Comte de Kergorlay" named as the painting's owner in 1889. Pierre de Kergorlay's second wife, Marie de Caulainecourt de Vicence (1859-1902), was through her mother a granddaughter of Casimir Perrin, marquis de Cypierre, who owned the painting in 1844, the year of his death. Although the painting appears to have sold at the marquis' 1845 estate sale, it possibly remained in the family and came to Pierre de Kergorlay through his second marriage in 1880. [3] An annotated copy of the 1905 sales catalogue in the NGA Library provides Ducrey's name, who was possibly buying for Tuffier. Correspondence between the Paris and New York offices of Duveen Brothers, Inc., in 1927 and 1928 discusses the painting and the possibility of purchasing it from Tuffier; Wildenstein is also mentioned as a possible buyer (Duveen Brothers Records, Getty Research Institute Library, Los Angeles, accession no. 960015, reel 97, box 242, folder 16; copies in NGA curatorial files). René Gimpel (_Diary of an Art Dealer_, translated by John Rosenberg, New York, 1966: 398), in a diary entry of 16 February 1930, writes of seeing the painting two days before at the Erickson residence, and describes it as "from the old Crosnier[_sic_] Collection, bought at his sale by Professor Tuffier..."

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Young Girl Reading - Jean Honoré Fragonard - Google Arts & Culture

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Fragonard's brushwork is as much the subject of this painting as the young woman. A flurry of rapid marks captures her blushing face. Bold, fluid strokes...

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Työ ei ole oikeastaan niinkään ruma, mutta erittäin tylsä ja siinä ei ole silleen mitään katseltavaa.

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Composition 10 in black and white - Piet Mondriaan - Google Arts & Culture

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Pier and Ocean In 1914, Piet Mondriaan lived for some time in the seaside resorts of Domburg and Scheveningen. There he made a series of drawings inspired ...

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Tamayo is one of the Mexican artists who did not assimilate the avant-garde in Europe, but from the paintings he admired in New York, a city he visited for the first time in 1926 when he had an individual exhibition in the Weyhe Gallery. He took up residence in the metropolis in 1934, and there he matured as an artist, and little by little gained a prestigious international renown. Far from running from the Mexican artistic evironment, as some studies have suggested, many of the artistic propositions that Mexican critics wrote about in magazines on the work of his restless contemporaries were confirmed by Tamayo in this city of skyscrapers. Before going abroad, it is worth mentioning that Tamayo was mostly a product of the Mexican artistic panorama, and thus, his work suffered, in its subject matter, from a certain provincialism, similar to that promoted by the Open Air Schools of Painting, and for this he always sought to try out other, more cosmopolitan artistic expressions. This explains the metaphysical feel that prevails in Naturaleza muerta con pie, which around 1928 became one of the first works with a full international style in the artistic trajectory of Rufino Tamayo.

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Still Life with Foot - Rufino Tamayo - Google Arts & Culture

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Tamayo is one of the Mexican artists who did not assimilate the avant-garde in Europe, but from the paintings he admired in New York, a city he visited for the first time in 1926 when he had an individual exhibition in the Weyhe Gallery.

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Green eye composition - Stanisław Ignacy Witkiewicz - Google Arts & Culture

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Tää on mielestäni tosi komea työ. Tykkään tosi paljon kuinka taulun henkilöllä on hieman oudot piirteet. Myös maalaus jälki ja värit ovat todella kiinnostavat ja omaperäiset.

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Schiele's head is bent, his eyes are turned upward. The whites of his eyes appear like crescent moons in an otherwise dark face. His dark head with sunken cheeks shines forth from the pale background. Above his blue-red lips sits a modest moustache, which Schiele only kept between the late fall of 1911 and the beginning of 1912. This grotesque and eerie self-portrait emerged in connection with the large-format painting The Hermits, which is also part of the Leopold Museum's collection. From this work, Schiele adopted the posture of the head and the similarly splayed fingers, which, in the double portrait, are placed on the right hip of the left figure. Another self-portrait study from the same year shows the artist wrapped in a white gown, again with the same head posture and spread fingers placed on the hip.

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Self-Portrait with Lowered Head - Egon Schiele - Google Arts & Culture

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Schiele's head is bent, his eyes are turned upward. The whites of his eyes appear like crescent moons in an otherwise dark face. His dark head with sunken cheeks shines forth from the pale background. Above his blue-red lips sits a modest moustache, which Schiele only kept between the late fall of 1911 and the beginning of 1912.

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On the Lake - Yue Minjun - Google Arts & Culture

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Femme aux Deux Paons Avec Aquarium - Baya - Google Arts & Culture

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A woman dressed in a blue jacket with fur trim stands alone before a table in a corner of a room. She holds a balance in her right hand and with lowered eyes waits for it to come to rest. Behind her, on the back wall of the room, is a large painting of The Last Judgment framed in black. On the side wall is a mirror. A blue cloth, some open boxes, two strands of pearls, and a gold chain lie on the table. A soft light, which passes through a window and its orange-yellow curtain, illuminates the scene. While the woman is psychologically removed from us, her graceful figure and serene face suggest an inner peace that one often experiences at unexpected and fleeting moments in one's life.

Woman Holding a Balance is an allegorical scene that urges us to conduct our lives with temperance and moderation. The painting within the painting offers an important clue in that Christ's Last Judgment is echoed by the woman's own actions. Before her are earthly treasures; behind her is the symbol of the eternal consequences of her actions here on earth. In waiting for the balance to rest at equilibrium she acknowledges the importance of judgment in weighing her own actions in anticipation of the life to come.

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Woman Holding a Balance - Johannes Vermeer - Google Arts & Culture

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A woman dressed in a blue jacket with fur trim stands alone before a table in a corner of a room. She holds a balance in her right hand and with lowered eyes waits for it to come to rest. Behind her, on the back wall of the room, is a large painting of The Last Judgment framed in black.

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Oswaldo Guayasamín believed in the power of art to shed light on injustice and oppression and, ultimately, to effect social change. In the present work, he demonstrates the range of emotions-anger, anxiety, hope - embodied in a pair of clenched human hands. This is one of thirteen ink drawings in the series, El mundo de las manos. Here, Guayasamín meditates on the stress and misery conveyed in the interlocking hands. The subject clasps his hands together, perhaps in prayer or in desperation, to relieve the pressures and ignominies of society. Described in a simplified, graphic style, the face and hands bear telltale marks of labor and misery, expressively exaggerated in the epidermis lines.

Text credit: Produced in collaboration with the University of Maryland Department of Art History & Archaeology and by Ankita Sahoo

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El mundo de las manos No.1 - Oswaldo Guayasamín - Google Arts & Culture

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Oswaldo Guayasamín believed in the power of art to shed light on injustice and oppression and, ultimately, to effect social change. In the present work, he demonstrates the range of emotions-anger, anxiety, hope - embodied in a pair of clenched human hands. This is one of thirteen ink drawings in the series, El mundo de las manos.

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Van Gogh's night sky is a field of roiling energy. Below the exploding stars, the village is a place of quiet order. Connecting earth and sky is the flamelike cypress, a tree traditionally associated with graveyards and mourning. But death was not ominous for van Gogh. "Looking at the stars always makes me dream," he said, "Why, I ask myself, shouldn't the shining dots of the sky be as accessible as the black dots on the map of France? Just as we take the train to get to Tarascon or Rouen, we take death to reach a star."

The artist wrote of his experience to his brother Theo: "This morning I saw the country from my window a long time before sunrise, with nothing but the morning star, which looked very big." This morning star, or Venus, may be the large white star just left of center in The Starry Night. The hamlet, on the other hand, is invented, and the church spire evokes van Gogh's native land, the Netherlands. The painting, like its daytime companion, The Olive Trees, is rooted in imagination and memory. Leaving behind the Impressionist doctrine of truth to nature in favor of restless feeling and intense color, as in this highly charged picture, van Gogh made his work a touchstone for all subsequent Expressionist painting.

The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 35

Find out more about The Starry Night at:
mo.ma/starrynight

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The Starry Night - Vincent van Gogh - Google Arts & Culture

# data[].attributes.attachment_link.description
Van Gogh's night sky is a field of roiling energy. Below the exploding stars, the village is a place of quiet order. Connecting earth and sky is the flamelike cypress, a tree traditionally associated with graveyards and mourning. But death was not ominous for van Gogh.

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Van Gogh's night sky is a field of roiling energy. Below the exploding stars, the village is a place of quiet order. Connecting earth and sky is the flamelike cypress, a tree traditionally associated with graveyards and mourning. But death was not ominous for van Gogh. "Looking at the stars always makes me dream," he said, "Why, I ask myself, shouldn't the shining dots of the sky be as accessible as the black dots on the map of France? Just as we take the train to get to Tarascon or Rouen, we take death to reach a star."

The artist wrote of his experience to his brother Theo: "This morning I saw the country from my window a long time before sunrise, with nothing but the morning star, which looked very big." This morning star, or Venus, may be the large white star just left of center in The Starry Night. The hamlet, on the other hand, is invented, and the church spire evokes van Gogh's native land, the Netherlands. The painting, like its daytime companion, The Olive Trees, is rooted in imagination and memory. Leaving behind the Impressionist doctrine of truth to nature in favor of restless feeling and intense color, as in this highly charged picture, van Gogh made his work a touchstone for all subsequent Expressionist painting.

The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 35

Find out more about The Starry Night at:
mo.ma/starrynight

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The Starry Night - Vincent van Gogh - Google Arts & Culture

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Van Gogh's night sky is a field of roiling energy. Below the exploding stars, the village is a place of quiet order. Connecting earth and sky is the flamelike cypress, a tree traditionally associated with graveyards and mourning. But death was not ominous for van Gogh.

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Le Mas Passe-Temps, Céret - Chaim Soutine - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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Kaunis

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La Luzerne, Saint-Denis - Georges Seurat - Google Arts & Culture

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Itse en saa työn teemasta selvää ja värit jotenkin ärsyttävät silmiäni. Maalaus tuntuu liian täydeltä.

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Impression III (Concert) - Wassily Kandinsky - Google Arts & Culture

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Pityocona attenuata - Thelma M. Clarke - Google Arts & Culture

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Horse Frightened by Lightning - Eugène Delacroix - Google Arts & Culture

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The Museum of Fine Arts Budapest boasts several masterpieces by Eugène Delacroix, the leading figure of French Romantic painting. These paintings, drawings...

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Joshua Commanding the Sun to Stand Still upon Gibeon - John Martin - Google Arts & Culture

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The subject of this painting approximately follows Ovid's account in the 'Metamorphoses'. In revenge for surprising her as she bathed naked in the woods, the goddess Diana transformed Actaeon into a stag and his own hounds attacked and killed him.

This is probably the picture referred to by Titian in a letter of June 1559 to Philip II of Spain, in which he says he hopes to finish two paintings he has already started, one of which is described as 'Actaeon mauled by his hounds'. In fact most of the work may date from the mid-1560s.

Details

Title: The Death of Actaeon

Date Created: about 1559-75

Physical Dimensions: 178.8 x 197.8 cm

Type: Painting

School: Italian (Venetian)

More Info: Explore the National Gallery's paintings online

Inventory number: NG6420

Artist Dates: active about 1506; died 1576

Artist Biography: Titian was the greatest painter of 16th-century Venice, and the first painter to have a mainly international clientele. During his long career, he experimented with many different styles of painting which embody the development of art during his epoch. Youth and debut Titian (Tiziano Vecellio) was born in Pieve di Cadore, a small town at the foot of the Dolomites on the Venetian side of the Alps. The Vecellios had been based in Cadore since the 14th century. Titian's father, Gregorio, was a military man. His older brother Francesco was also a painter. There is still no documentary evidence of Titian's exact date of birth, but contemporary sources and his early stylistic development suggest that he was born around 1490. When he was about 10 years old, Titian arrived in Venice, then one of the wealthiest and most cosmopolitan cities in the world. Titian started his artistic training in the workshop of the mosaicist Sebastiano Zuccato. He later briefly joined Gentile Bellini's workshop. After Gentile's death in 1507, Titian joined the workshop of Gentile's brother, Giovanni Bellini, which at that time was the most important in Venice. However, it was through contact with Giorgione, who had also previously trained in Giovanni Bellini's workshop, that he mainly developed his early style. The Giorgionesque appearance of Titian's early work, which is characterised by a pastoral mood, is proof of their closeness. In 1508-9 they worked together on the decoration of the external walls of the 'Fondaco dei Tedeschi' in Venice. The parts executed by Titian were greatly praised by contemporaries, much to the annoyance of Giorgione. After Giorgione's death in 1510, and Sebastiano del Piombo's departure to Rome in 1511, Titian launched his independent career in Venice. He was now left without rivals among his generation who could compete at his level. Early local success In 1511 Titian painted his celebrated frescoes in the 'Scuola del Santo' in Padua. His style had now reached maturity, marked by fullness of forms, compositional confidence and chromatic balance. These features made his work fundamental to the development of Venetian - and also European - painting. He became famous as a portraitist (examples in the National Gallery are La Schiavona and Portrait of Gerolamo (?) Barbarigo). He was also known as a painter of various profane subjects. These skills drew the attention of intellectually ambitious Italian dukes and aristocrats. Titian was also commissioned to paint prestigious public religious paintings. His Venetian success was sealed by the execution of the altarpiece for the high altar of the important Franciscan church of Santa Maria Gloriosa dei Frari in Venice. The so-called 'Assunta' (Assumption of the Virgin Mary), which is nearly seven metres high, was displayed in 1518, creating a revolutionary watershed in Venetian altarpiece design. Between 1519 and 1526, he painted the celebrated 'Pala Pesaro' for the same church. This asymmetrical composition strongly influenced Venetian altarpiece painting right up until the 18th century. North Italian courts Early in 1516 Titian started his professional relationship with Alfonso I d'Este, Duke of Ferrara and spent time in Alfonso's castle. The duke wanted to create a private cabinet, which would be known as the 'camerino d'alabastro' (the alabaster cabinet), with mythological scenes derived from classical poetry. The duke employed the painters he considered to be the best at the time. Apart from Titian, the other artists were Raphael, Fra Bartolomeo and Dosso Dossi. Following the deaths of Raphael and Fra Bartolomeo Titian's involvement in the project increased. He then executed his two famous Bacchanals for Alfonso I, today in the Prado, Madrid, along with Bacchus and Ariadne, now in the National Gallery. Titian also worked for the court of Mantua. In 1523 he began painting for the future Duke of Mantua, Federico II Gonzaga the son of Isabella d'Este (who was the sister of Titian's earlier patron Alfonso I). Titian mainly painted portraits for the Mantuan court. In 1532 Titian started to work for the Duke of Urbino, Francesco Maria della Rovere. He would also work for his successor, Guidobaldo II. In the 1530s, he was also in touch with the court of Pope Paolo III Farnese. Worldwide success, family and friends The 1520s were hugely significant for Titian's private life. In 1525 he married Cecilia (who tragically died in 1530). Titian and Cecilia had three children, who were all given the names of famous figures from ancient Rome: Pompeo, Orazio and Lavinia. Titian's meeting with the Holy Roman Emperor Charles V in Bologna in 1530 would be a determining event in his life. On this occasion Titian executed a (now lost) full-length, life-size portrait of the Emperor - an early example of what was still an extremely innovative genre at that time. He rapidly became the principal painter to the imperial court, which gave him immense privileges, honours and even titles. From this moment he was the painter most in demand at courts across Europe. Titian also became the official painter of Charles V's son, Philip II of Spain. Starting in about 1551, he painted the celebrated mythological series of pictures for Philip, which he referred to as 'poesie'. The 'poesie' included Diana and Actaeon and Diana and Callisto, which are now part of the National Gallery's collection, along with The Death of Actaeon, which was originally conceived as part of the series, but in fact remained unfinished in the artist's studio at his death. In 1527 the Florentine sculptor and architect Jacopo Sansovino and the Tuscan man of letters Pietro Aretino arrived in Venice. They became inseparable friends with Titian, stimulating his interest in Mannerism, a style first seen in his paintings from that period. Mannerist aspects in his art increased after his only trip to Rome in 1545-6, where he finally got the opportunity to meet Michelangelo. Late years The last phase of Titian's life coincided with a radical revision of his own style and painting technique. Starting from the late 1550s, Titian developed a much freer use of the brush and a less descriptive representation of reality. In the late 1560s and early 1570s, when Titian was already extremely old, he pushed his art to the edge of abstraction. This later style has been defined as 'magic impressionism'. All of this is well represented by two of his latest works, The Death of Actaeon at the National Gallery, and the 'Pietà', now in the Gallerie dell'Accademia in Venice. The 'Pietà' was originally destined for his own tomb in the church of Santa Maria Gloriosa dei Frari, where Titian was buried after dying of the plague on 27 August 1576.

Acquisition Credit: Bought with a special grant and contributions from The Art Fund, The Pilgrim Trust and through public appeal, 1972

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