Titian 154239 224207876 2008-07-07T20:26:28Z Philip Cross 124152 /* Final years */ fmt {{Infobox Artist | bgcolour = #EEDD82 | name = Tiziano | image = Tizian 090.jpg | imagesize = 200px | caption = self-portrait | birthname = Tiziano Vecelli | birthdate = c. 1485 | location = [[Pieve di Cadore]] | deathdate = [[27 August]] [[1576]] | deathplace = [[Venice]] | nationality = | field = | works = | patrons = | awards = }} {{otheruses}} ''' Tiziano Vecelli''' or '''Tiziano Vecellio''' (c.&nbsp;1485 &ndash; [[August 27]], [[1576]]), better known as '''Titian''', was the leader of the 16th-century [[Venice|Venetian]] school of the [[Italian Renaissance]]. He was born in [[Pieve di Cadore]], near [[Belluno]] ([[Veneto]]), in the [[Republic of Venice]]. During his lifetime he was often called ''Da Cadore'', taken from the place of his birth. Recognized by his contemporaries as "the sun amidst small stars" (recalling the famous final line of [[Dante|Dante's]] ''[[The Divine Comedy|Paradiso]]''), Titian was one of the most versatile of Italian painters, equally adept with portraits and landscapes (two genres that first brought him fame), mythological and religious subjects. His painting methods, particularly in the application and use of color, would exercise a profound influence not only on painters of the Italian Renaissance, but on future generations of [[Western art]].<ref>Fossi, Gloria, ''Italian Art: Painting, Sculpture, Architecture from the Origins to the Present Day'', p. 194. Giunti, 2000. ISBN 88-09-01771-4</ref> During the course of his long life Titian's artistic manner changed drastically;<ref>The contours in early works may be described as "crisp and clear", while of his late methods it was said that "he painted more with his fingers than his brushes." Dunkerton, Jill, et al, ''Dürer to Veronese: Sixteenth-Century Painting in the National Gallery'', p.281-286. Yale University, National Gallery Publications, 1999. ISBN 0-300-07220-1</ref> however he retained a lifelong interest in colour. His mature works may not contain the vivid, luminous tints of his early pieces, however their loose brushwork and subtlety of polychromatic modulations are without precedent in the history of Western art. ==Biography== ===Early years=== No one is sure of the exact date of Titian's birth; when he was an old man he claimed to have been born in 1477 in a letter to [[Philip II of Spain|Philip II]], but this seems most unlikely.<ref name="NG">Cecil Gould, The Sixteenth Century Italian Schools, National Gallery Catalogues, London 1975, ISBN 0947645225</ref> Other writers contemporary to his old age give figures for his age which would equate to birth-dates between 1473 to after 1482, but most modern scholars believe a date nearer 1490 is more likely. He was the eldest of a family of four and son of Gregorio Vecelli, a distinguished councillor and soldier, and of his wife Lucia. His father was superintendent of the castle of [[Pieve di Cadore]] and also managed local mines for their owners.<ref name="DJ">David Jaffé (ed), Titian, The National Gallery Company/Yale, London 2003, ISBN 1 857099036</ref> Many relatives, including Titian's grandfather, were [[notaries]], and the family were well-established in the area, which was ruled by Venice. At the age of about ten to twelve he 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 sons became well-known mosaicists, and who may have been a family friend, arranged for the brothers to enter the studio of the elderly [[Gentile Bellini]], from which they later transferred to that of his brother [[Giovanni Bellini]].<ref name="DJ"/> At that time the Bellinis, especially Giovanni, were the leading artists in the city. There he found a group of young men about his own age, among them Giovanni Palma da Serinalta, [[Lorenzo Lotto]], [[Sebastiano del Piombo|Sebastiano Luciani]], and Giorgio da Castelfranco, nicknamed [[Giorgione]]. [[Francesco Vecellio]], his younger brother, later became a painter of some note in Venice. [[Image:Tizian 078.jpg|thumb|left|200px|This early portrait (c. 1512) was long wrongly believed to be of ''[[Ariosto]]''; it is more likely a self-portrait, and the composition was borrowed by [[Rembrandt]] for his own self-portraits.]] A [[fresco]] of [[Hercules]] on the [[Morosini]] Palace is said to have been one of his earliest works; others were the ''[http://www.wga.hu/art/t/tiziano/3religio/gipsymad.jpg Virgin and Child]'' (the Bellini-esque so-called ''Gypsy Madonna''), in Vienna, and the ''Visitation of Mary and Elizabeth'' (from the convent of S. Andrea), now in the [[Accademia]], Venice. Titian joined Giorgione as an assistant, but many contemporary critics already found his work more impressive, for example in the exterior frescoes (now almost totally destroyed) that they did for the Fondacio dei Tedeschi, and their relationship evidently had a significant element of rivalry. Distinguishing between their work at this period remains a subject of scholarly controversy, and there has been a substantial movement of attributions from Giorgione to Titian in the 20th century, with little traffic the other way. One of the earliest known works of Titian, the little ''[http://www.abcgallery.com/T/titian/titian112.html Ecce Homo]'' of the [[Scuola di San Rocco]], was long regarded as the work of Giorgione. The two young masters were likewise recognized as the two leaders of their new school of "arte moderna", that is of painting made more flexible, freed from symmetry and the remnants of hieratic conventions still to be found in the works of Giovanni Bellini. In 1507-1508 Giorgione was commissioned by the state to execute frescoes on the re-erected [[Fondaco dei Tedeschi]]. Titian and [[Morto da Feltre]] worked along with him, and some fragments of paintings remain, probably by Giorgione. Some of their work is known, in part, through the engravings of [[Fontana]]. After Giorgione's early death in 1510, Titian continued to paint Giorgionesque subjects for some time, though his style developed its own trademarks, including bold and expressive brushwork. Titian's talent in fresco is shown in those he painted in 1511 at [[Padua]] in the [[Carmelites|Carmelite]] church and in the Scuola del Santo, some of which have been preserved, among them the ''Meeting at the Golden Gate'', and three scenes from the life of St. Anthony of Padua, the ''Murder of a Young Woman by Her Husband'', ''A Child Testifying to Its Mother's Innocence'', and ''The Saint Healing the Young Man with a Broken Limb.'' From Padua in 1512, Titian returned to Venice; and in 1513 he obtained a broker's patent in the Fondaco dei Tedeschi (state-warehouse for the [[German people|German]] merchants), termed La Sanseria or Senseria (a privilege much coveted by rising or risen artists), and became superintendent of the government works, being especially charged to complete the paintings left unfinished by [[Giovanni Bellini]] in the hall of the great council in the ducal palace. He set up an atelier on the [[Grand Canal (Venice)|Grand Canal]] at S. Samuele, the precise site being now unknown. It was not until 1516, upon the death of Bellini, that he came into actual enjoyment of his patent. At the same time he entered an exclusive arrangement for painting. The patent yielded him a good annuity of 20 crowns and exempted him from certain taxes &mdash; he being bound in return to paint likenesses of the successive [[Doges of Venice|Doges]] of his time at the fixed price of eight crowns each. The actual number he executed was five. === Growth === [[Image:Tizian 041.jpg|right|thumb|225px|It took Titian two years (1516&ndash;1518) to complete the oil painting [[Assunta]], whose dynamic three-tier composition and gorgeous color scheme established him as the preeminent painter north of Rome.]] Giorgione died in 1510 and the aged Giovanni Bellini in 1516, leaving Titian unrivaled in the Venetian School. For sixty years he was to be the undisputed master of Venetian painting, and as it were, the painter laureate of the Republic Serenissime. As early as 1516 he succeeded his master Giovanni Bellini in receiving a pension from the Senate. During this period (1516-1530), which may be called the period of his mastery and maturity, the artist moved on from his early [[Giorgione]]sque style, undertook larger and more complex subjects and for the first time attempted a monumental style. In 1518 he produced for the high altar of the [[Basilica di Santa Maria Gloriosa dei Frari|church of the Frari]], his famous masterpiece, the ''[[Assumption of the Virgin (Titian)|Assumption of the Virgin]]'', still in situ. This extraordinary piece of colorism, executed on a grand scale rarely before seen in Italy, created a sensation. The [[Signoria]] took note, and observed that Titian was neglecting his work in the hall of the great council. The pictorial structure of the ''Assumption'' &mdash; that of uniting in the same composition two or three scenes superimposed on different levels, earth and heaven, the temporal and the infinite &mdash; was continued in a series of works such as the retable of San Domenico at [[Ancona]] (1520), the retable of [[Brescia]] (1522), and the retable of San Niccolò (1523), in the [[Vatican Museum]]), each time attaining to a higher and more perfect conception, finally reaching a classic formula in the ''[[Pesaro Madonna]]'', (better known as the Madonna di Ca' Pesaro) (c. 1519-1526), at [[Santa Maria Gloriosa dei Frari]] in Venice. This perhaps is his most studied work, whose patiently developed plan is set forth with supreme display of order and freedom, originality and style. Here Titian gave a new conception of the traditional groups of donors and holy persons moving in aerial space, the plans and different degrees set in an architectural framework. Titian was now at the height of his fame, and towards 1521, following the production of a figure of St. Sebastian for the papal legate in Brescia (a work of which there are numerous replicas), purchasers pessed for his work. To this period belongs a more extraordinary work, ''The Death of St. Peter Martyr'' (1530), formerly in the Dominican Church of [[Basilica di San Zanipolo|San Zanipolo]], and destroyed by an Austrian shell in 1867. Only copies and [[engraving]]s of this proto-[[Baroque]] picture remain; it combined extreme violence and a landscape, mostly consisting of a great tree, that pressed into the scene and seems to accentuate the drama in a way that looks forward to the [[Baroque]]. The artist simultaneously continued his series of small [[Madonna (art)|Madonnas]] which he treated amid beautiful landscapes in the manner of genre pictures or poetic pastorals, the ''Virgin with the Rabbit'' in the [[Louvre]] being the finished type of these pictures. Another work of the same period, also in the Louvre, is the ''Entombment''. This was also the period of the large mythological scenes for the ''[[Cabinet (architecture)|studiolo]]'' of [[Alfonso d'Este]] in [[Ferrara]], such as the famous ''Bacchanals'' of the [[Prado]], and the ''[[Bacchus and Ariadne]]'' of [[London]], "...perhaps the most brilliant productions of the neo-pagan culture or "Alexandrianism" of the Renaissance, many times imitated but never surpassed even by [[Peter Paul Rubens|Rubens]] himself."<ref name="catencyclo">[http://www.newadvent.org/cathen/14742a.htm Catholic Encyclopedia]</ref> Finally this was the period when the artist composed the half-length figures and busts of young women, probably [[courtesan]]s, such as ''Flora'' of the [[Uffizi]], or ''The Young Woman at Her Toilet'' in the Louvre. [[Image:Tizian 082.jpg|thumb|left|250px|Titian's state portrait of Emperor Charles V [[Battle of Mühlberg|at Mühlberg]] (1548) established a new genre, that of the grand equestrian portrait. The composition is steeped both in the Roman tradition of [[equestrian sculpture]] and in the medieval representations of an ideal Christian knight, but the weary figure and face have a subtlety few such representations attempt.]] In 1525 he married a lady named Cecilia, thereby legitimizing their first child, Pomponio, and two (or perhaps three) others followed, including Titian's favorite, Orazio, who became his assistant. About 1526 he became acquainted, and soon exceedingly intimate, with [[Pietro Aretino]], the influential and audacious figure who features so strangely in the chronicles of the time. Titian sent a portrait of him to Gonzaga, duke of [[Mantua]]. In August 1530 his wife died giving birth to a daughter, Lavinia, and with his three children he moved house, and got his sister Orsa to come from Cadore and take charge of the household. The mansion, difficult to find now, is in the Bin Grande, then a fashionable suburb, at the extreme end of Venice, on the sea, with beautiful gardens and a view towards Murano. === Maturity === During the next period (1530-1550), Titian developed the style introduced by his dramatic ''Death of St. Peter Martyr''. The Venetian government, dissatisfied with Titian's neglect of the work for the ducal palace, ordered him in 1538 to refund the money which he had received, and [[Pordenone]], his rival of recent years, was installed in his place. However, at the end of a year Pordenone died, and Titian, who meanwhile applied himself diligently to painting in the hall the ''Battle of Cadore'', was reinstated. This major battle scene, was lost along with so many other major works by Venetian artists by the great fire which destroyed all the old pictures in the great chambers of the [[Doge's Palace]] in 1577. It represented in life-size the moment at which the Venetian general, [[Bartolomeo d'Alviano|D'Alviano]] attacked the enemy with horses and men crashing down into a stream, and was the artist's most important attempt at a tumultuous and heroic scene of movement to rival [[Raphael]]'s ''Battle of Constantine'' and the equally ill-fated ''Battle of Cascina'' of [[Michelangelo]] and ''The Battle of Anghiari'' of [[Leonardo]] (both unfinished). There remains only a poor, incomplete copy at the Uffizi, and a mediocre engraving by Fontana. The ''Speech of the Marquis del Vasto'' (Madrid, 1541) was also partly destroyed by fire. But this period of the master's work is still represented by the ''Presentation of the Blessed Virgin'' (Venice, 1539), one of his most popular canvasses, and by the ''Ecce Homo'' ([[Vienna]], 1541). Despite its loss, the painting had a great influence on [[Bologna|Bolognese]] art and Rubens, both in the handling of details and the general effect of horses, soldiers, lictors, powerful stirrings of crowds at the foot of a stairway, lit by torches with the flapping of banners against the sky. [[Image:Genuine danae.jpg|thumb|left|350px|Titian's unmatched handling of color is exemplified by his ''[[Danaë]]'', one of several mythological paintings (or "poems" as the painter called them) commissioned by [[Philip II of Spain]] in 1554. Although Michelangelo adjudged this piece deficient from the point of view of drawing, Titian's studio reproduced it for other patrons more than once.]] Less successful were the [[pendentive]]s of the cupola at Sta. Maria della Salute (''Death of Abel'', ''Sacrifice of Abraham'', ''David and Goliath''). These violent scenes viewed in perspective from below &mdash; like the famous pendentives of the [[Sistine Chapel]] &mdash; were by their very nature in unfavorable situations. They were nevertheless much admired and imitated, Rubens among others applying this system to his forty ceilings (the sketches only remain) of the [[Society of Jesus|Jesuit]] church at Antwerp. At this time also, the time of his visit to [[Rome]], the artist began his series of reclining Venuses (''The [[Venus of Urbino]]'' of the Uffizi, ''Venus and Love'' at the same museum, ''Venus and the Organ-Player'', Madrid), in which is recognized the effect or the direct reflection of the impression produced on the master by contact with ancient sculpture. [[Giorgione]] had already dealt with the subject in his Dresden picture, finished by Titian, but here a purple drapery substituted for a landscape background changed, by its harmonious coloring, the whole meaning of the scene. Titian had from the beginning of his career shown himself to be a masterful portrait-painter, in works like ''La Bella'' (Eleanora de Gonzaga, Duchess of Urbino, at the Pitti Palace). He painted the likenesses of princes, or Doges, cardinals or monks, and artists or writers. "...no other painter was so successful in extracting from each physiognomy so many traits at once characteristic and beautiful", according to the Catholic Encyclopedia. Among portrait-painters Titian is compared to [[Rembrandt Harmenszoon van Rijn|Rembrandt]] and [[Diego Velázquez|Velázquez]], with the interior life of the former, and the clearness, certainty, and obviousness of the latter. The last-named qualities are sufficiently manifested in the ''[[portrait of Paul III (Titian)|Portrait of Paul III]]'' of [[Naples]], or the sketch of the same [[Paul III and His Nephews Alessandro and Ottavio Farnese|pope and his two nephews]], the ''[[Portrait of Pietro Aretino (Titian)|Portrait of Aretino]]'' of the Pitti Palace, the ''Eleanora of Portugal'' (Madrid), and the series of [[Charles V, Holy Roman Emperor|King Charles V]] of the same museum, the ''Charles V with a Greyhound'' (1533), and especially the ''Charles V at Mühlberg'' (1548), an equestrian picture which as a symphony of purples is perhaps the ''ne plus ultra'' of the art of painting. In 1532 after painting a portrait of the emperor Charles V in Bologna he was made a Count Palatine and knight of the Golden Spur. His children were also made nobles of the Empire, which for a painter was an exceptional honor. [[Image:Tizian 085.jpg|thumb|300px|right|''The Rape of [[Europa (mythology)|Europa]]'' (1562) is a bold diagonal composition which was admired and copied by [[Peter Paul Rubens|Rubens]]. In contrast to the clarity of Titian's early works, it is almost [[baroque]] in its blurred lines, swirling colors, and vibrant brushstrokes.]] As a matter of professional and worldly success his position from about this time is regarded as equal only to that of [[Raphael]], [[Michelangelo Buonarroti|Michelangelo]], and at a later date [[Peter Paul Rubens|Rubens]]. In 1540 he received a pension from D'Avalos, marquis del Vasto, and an annuity of 200 crowns (which was afterwards doubled) from Charles V from the treasury of [[Milan]]. Another source of profit, for he was always aware of money, was a contract obtained in 1542 for supplying grain to Cadore, where he visited almost every year and where he was both generous and influential. Titian had a favorite villa on the neighboring Manza Hill, from which (it may be inferred) he made his chief observations of landscape form and effect. The so-called Titian's mill, constantly discernible in his studies, is at Collontola, near Belluno.<ref name="heathp5">R. F. Heath, ''Life of Titan'', page 5.</ref> He visited Rome in 1546, and obtained the freedom of the city &mdash; his immediate predecessor in that honour having been [[Michelangelo Buonarroti|Michelangelo]] in 1537. He could at the same time have succeeded the painter [[Sebastiano del Piombo]] in his lucrative office as holder of the piombo or Papal [[seal (device)|seal]], and he was prepared to take [[holy orders]] for the purpose; but the project lapsed through his being summoned away from Venice in 1547 to paint Charles V and others in [[Augsburg]]. He was there again in 1550, and executed the portrait of [[Philip II of Spain|Philip II]] which was sent to England and proved useful in Philip's suit for the hand of [[Mary I of England|Queen Mary]]. === Final years === [[Image:Actaeon.jpg|thumb|275px|left|In Titian's later works, the forms lose their solidity and melt into the lush texture of shady, shimmering colors and unsettling atmospheric effects. In addition to energetic brushwork, Titian was said to put paint on with his fingers toward the completion of a painting.]] During the last twenty-five years of his life (1550-1576) the artist 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, never wearying of returning to them and retouching them, constantly adding new expressions at once more refined, concise, and subtle. He also finished off many copies of earlier works of his by his pupils, giving rise to many problems of attribution and priority among versions of his works, which were also very widely copied and faked outside his studio, during his lifetime and afterwards. For each of the problems which he successively undertook he furnished a new and more perfect formula. He never again equaled the emotion and tragedy of the ''Crowning with Thorns'' (Louvre), in the expression of the mysterious and the divine he never equaled the poetry of the ''Pilgrims of Emmaus'', while in superb and heroic brilliancy he never again executed anything more grand than ''The Doge Grimani adoring Faith'' (Venice, [[Doge's Palace]]), or the ''Trinity'', of Madrid. On the other hand from the standpoint of flesh tints, his most moving pictures are those of his old age, the ''Dan'' of Naples and of Madrid, the ''[[Antiope]]'' of the Louvre, the ''[[Rape of Europa]]'' (Boston, Gardner collection), etc. He even attempted problems of chiaroscuro in fantastic night effects (''Martyrdom of St. Laurence'', Church of the Jesuits, Venice; ''St. Jerome'', Louvre). In the domain of the real he always remained equally strong, sure, and master of himself; his portraits of Philip II (Madrid), those of his daughter, Lavinia, and those of himself are numbered among his masterpieces. Titian had engaged his daughter Lavinia, the beautiful girl whom he loved deeply and painted various times, to Cornelio Sarcinelli of Serravalle. She had succeeded her aunt Orsa, then deceased, as the manager of the household, which, with the lordly income that Titian made by this time, placed her on a corresponding footing. The marriage took place in 1554. She died in childbirth in 1560. [[Image:Tizian 053.jpg|thumb|right|275px|Like so many of his late works, Titian's last painting, the [[Pietà (Titian)|Pietà]], is a dramatic scene of suffering in a nocturnal setting. It was apparently intended for his own tomb chapel.]] He was at the [[Council of Trent]] towards 1555, of which his admirable picture or finished sketch in the Louvre bears record. Titian's friend Aretino died suddenly in 1556, and another close intimate, the sculptor and architect [[Jacopo Sansovino]], in 1570. In September 1565 Titian went to Cadore and designed the decorations for the church at Pieve, partly executed by his pupils. One of these is a Transfiguration, another an ''[[Annunciation (Titian)|Annunciation]]'' (now in S. Salvatore, Venice), inscribed ''Titianus fecit'', by way of protest (it is said) against the disparagement of some persons who cavilled at the veteran's failing handicraft. He continued to accept commissions to the end of his life. He had selected as the place for his burial the chapel of the Crucifix in the church of the Fran; and, in return for a grave, he offered the [[Franciscan]]s a picture of the [[Pietà (Titian)|Pietà]], representing himself and his son Orazio before the Saviour, another figure in the composition being a sibyl. This work he nearly finished; but some differences arose regarding it, and he then settled to be interred in his native Pieve. Titian was approximately 90 years old when the [[bubonic plague|plague]] raging in Venice took him on [[27 August]] [[1576]]. He was the only victim of the Venice plague to be given a church burial. He was interred in the [[Frari]] ([[Santa Maria Gloriosa dei Frari]]), as at first intended, and his ''Pietà'' was finished by [[Palma the Younger]]. He lies near his own famous painting, the Madonna di Ca' Pesaro. No memorial marked his grave, until much later the Austrian rulers of Venice commissioned [[Antonio Canova|Canova]] to provide the large monument. Immediately after Titian's own death, his son and pictorial assistant, Orazio, died of the same epidemic. His sumptuous mansion was plundered during the plague by thieves. ==Printmaking== Titian himself never attempted [[engraving]], but he was very conscious of the importance of [[printmaking]] as a means of further expanding his reputation. In the period 1517&ndash;1520 he designed a number of [[woodcut]]s, including an enormous and impressive one of ''The Crossing of the Red Sea'', and collaborated with [[Domenico Campagnola]] and others, who produced further [[old master print|prints]] based on his paintings and drawings. Much later he provided drawings based on his paintings to [[Cornelius Cort]] from the Netherlands, who brilliantly engraved them. == Family == [[Image:Titian - Allegorie der Zeit.jpg|thumb|200px|''[[Allegory of Prudence|The Allegory of Age Governed by Prudence]]'' (c.&nbsp;1565&ndash;1570) is thought to depict Titian, his son Orazio, and a young cousin, Marco Vecellio.]] Several other artists of the Vecelli family followed in the wake of Titian. [[Francesco Vecellio]], his elder brother, was introduced to painting by Titian (it is said at the age of twelve, but chronology will hardly admit of this), and painted in the church of S. Vito in Cadore a picture of the titular saint armed. This was a noteworthy performance, of which Titian (the usual story) became jealous; so Francesco was diverted from painting to soldiering, and afterwards to mercantile life. Marco Vecellio, called [[Marco di Tiziano]], Titian's nephew, born in 1545, was constantly with the master in his old age, and, learned his methods of work. He has left some able productions in the ducal palace, the ''Meeting of Charles V. and [[Pope Clement VII|Clement VII]]. in 1529'' ; in S. Giacomo di Rialto, an ''Annunciation'' ; in SS. Giovani e Paolo, ''Christ Fulminant''. A son of Marco, named Tiziano (or Tizianello), painted early in the 17th century. From a different branch of the family came [[Fabrizio di Ettore]], a painter who died in 1580. His brother Cesare, who also left some pictures, is well known by his book of engraved costumes, ''Abiti antichi e moderni''. [[Tommaso Vecelli]], also a painter, died in 1620. There was another relative, Girolamo Dante, who, being a scholar and assistant of Titian, was called [[Girolamo di Tiziano]]. Various pictures of his were touched up by the master, and are difficult to distinguish from originals. Few of the 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 two of superior excellence. [[El Greco]] (or Dominikos Theotokopoulos) was said (by [[Giulio Clovio]]) to have been employed by the master in his last years. ==Notes== {{reflist}} ==External links== {{commonscat}} *[http://www.artcyclopedia.com/artists/titian.html Titian's paintings] *[http://www.wga.hu/frames-e.html?/html/t/tiziano/index.html Tiziano Vecellio at Web Gallery of Art] *[http://www.christies.com/presscenter/pdf/09162005/09162005b.pdf Christies' sale blurb for the recently restored 'Mother and Child'] *Bell, Malcolm [http://www.archive.org/details/earlyworkoftitia00belluoft ''The early work of Titian''], at [[Internet Archive]] *[http://www.aiwaz.net/panopticon/titian/gc207 Titian at Panopticon Virtual Art Gallery] <!-- Metadata: see [[Wikipedia:Persondata]] --> {{Persondata |NAME = Titian |ALTERNATIVE NAMES = Vecelli, Tiziano |SHORT DESCRIPTION = Italian painter |DATE OF BIRTH = [[1485]] |PLACE OF BIRTH = [[Pieve di Cadore]], Italy |DATE OF DEATH = [[August 27]], [[1576]] |PLACE OF DEATH = Venice }} [[Category:Titian]] [[Category:Italian painters]] [[Category:Venetian painters]] [[Category:Renaissance painters]] [[Category:Roman Catholic Church art]] [[Category:People from the Province of Belluno]] [[Category:1480s births]] [[Category:1576 deaths]] {{Link FA|es}} [[ar:تيتيان]] [[bs:Titian]] [[br:Tizian]] [[bg:Тициан]] [[ca:Ticià]] [[cs:Tizian]] [[de:Tizian]] [[et:Tizian]] [[el:Τιτσιάνο]] [[es:Tiziano]] [[eo:Tiziano]] [[fr:Titien]] [[gl:Tiziano]] [[ko:티치아노 베첼리]] [[hr:Tizian]] [[id:Tiziano Vecelli]] [[it:Tiziano]] [[he:טיציאן]] [[ka:ტიციანი]] [[lad:Titziano]] [[la:Titianus Vecellii]] [[lt:Tiziano Vecelli]] [[hu:Tiziano Vecellio]] [[nl:Titiaan]] [[ja:ティツィアーノ・ヴェチェッリオ]] [[no:Tiziano Vecellio]] [[pl:Tycjan]] [[pt:Tiziano]] [[ro:Tiziano Vecellio]] [[qu:Tiziano]] [[ru:Тициан]] [[sq:Ticiani]] [[sk:Tiziano Vecelli]] [[sl:Tizian]] [[sr:Тицијан Вечели]] [[fi:Tizian]] [[sv:Tizian]] [[th:ทิเชียน]] [[tr:Tiziano Vecellio]] [[uk:Тіціан]] [[zh:提香]]