Titian Assunta. Composition based on painting B

Titian Vecellio (Pieve di Cadore, c. 1485/1490 - Venice, 1576) was a key figure in the development of Venetian and European painting. A great colorist, he fully explored the possibilities of writing with "all color", creating a language that then influenced Tintoretto and other major European masters such as Rembrandt, Rubens and El Greco.

Early works of Titian

As a ten-year-old boy, Titian went to Venice and there devoted himself to the study of painting. His teachers are called the mosaicist Zuccato, Gentile and Giovanni Bellini... He had a significant influence on the development of Titian Giorgione, with whom he performed together around 1507 in the Venetian church of Fondaco dei Tedeschi, now dead frescoes (the earliest known work of Titian). One of the earliest and most perfect works of Titian, "Christ with Denarius" (Dresden) - remarkable for the depth of psychological characteristics, for the subtlety of execution and brilliant color.

Titian. Christ with a denarius (Denarius of Caesar). 1516

In his first works, Titian develops "tone painting" ("Don't Touch Me", National Gallery, London; a series of female half-figures such as Flora, circa 1515, Uffizi Gallery, Florence), while showing an interest in painting by Andrea Mantegna, Albrecht Dürer and Raphael, increasingly focusing on expressive realism, which was a fundamental innovation for the Venetian school and the entire culture of the Serenissima (frescoes of the scuola of St. Anthony in Padua, 1511; a series of portraits including Ariosto, National Gallery, London; first woodcuts).

Titian. Woman in front of the mirror. OK. 1514

Titian. Earthly and heavenly love. 1514

This tendency found its complete expression in Titian's painting "Earthly and Heavenly Love" (1515, Borghese Gallery, Rome) and the monumental altarpiece "Assunta" ("The Dormition of the Virgin and Taking Her to Heaven", 1518, Church of Santa Maria Gloriosa dei Frari, Venice). Assunta is a masterpiece of Titian's religious painting. The wonderfully enlightened face of the Mother of God, ascending in height, the delight and animation of the apostles gathered at the tomb, the majestic composition, the extraordinary brilliance of colors - all together make up a powerful solemn chord that makes an irresistible impression.

Titian. Dormition of the Virgin (Assunta). 1516-1518

Titian and court culture

In subsequent years, Titian began to fulfill orders of some Italian courts (Ferrara, from 1519; Mantua, from 1523; Urbino, from 1532) and Emperor Charles V (from 1530), creating mythological and allegorical scenes: for example, Venus of Urbino (1538, Uffizi Gallery , Florence).

Titian. Venus of Urbinskaya. Before 1538

How Titian originally developed ancient subjects, show his paintings "Diana and Callisto" and especially - full of life "Bacchanalia" (Madrid), "Bacchus and Ariadne" (National Gallery, London).

Titian. Bacchus and Ariadne. 1520-1522

To what high perfection the skill of depicting a naked body was brought can be judged by the numerous striking convexity of forms and the power of color "Venus" (the best in Florence, in the Uffizi) and "Danae".

Titian. Bacchanalia. 1523-1524

Even allegorical images, Titian knew how to give noble vitality and beauty. Among the excellent examples of this kind of painting by Titian are "Three Ages"

His female portraits are also excellent: "Flora" (Uffizi, Florence), "Beauty" ("La bella") (Pitti, Florence), a portrait of Titian's daughter Lavinia.

Titian. Flora. 1515-1520

The desire for realism of the depicted event makes itself felt in several altar images of Titian, including Altar of Pesaro(1519 - 1526, Santa Maria Gloriosa dei Frari, Venice), where exceptional mastery of composition is demonstrated.

Titian. Madonna with saints and members of the Pesaro family (Altar of Pesaro). 1519-1526

Titian uses the theme of the Holy Interview here, but places the figures not frontally to the plane of the image (as, for example, in Giorgione's Altara of Castelfranco), but diagonally at different levels: the group of the Madonna and Child at the top right, the group with the hero worshiping her at the bottom left and kneeling members of the ordering family (Pesaro family), lower right, foreground.

Finally, Titian is of great importance as a landscape painter. The landscape plays a prominent role in many of his paintings. Titian perfectly portrays the austere, simple and majestic beauty of nature.

For independent artistic development, Titian's whole life was extremely successful: he did not live in a closed narrow circle, but in broad communication with scientists and poets of that time and was a welcome guest with the rulers of the world and noble people, as the first portrait painter. Pietro Aretino, Ariosto, Duke of Ferrara Alfonso, Duke of Mantua Federigo, Emperor Charles V, who made Titian his court painter, Pope Paul III - were his friends and patrons. Over the course of many years and an extremely active life with the versatility of talent, Titian has created a wide variety of works, especially in the last 40 years, when he was helped by numerous students. Yielding in ideality and spirituality to Raphael and Michelangelo, Titian is equal to the first in the sense of beauty, and to the second in the dramatic vitality of the composition and surpasses both in the power of painting. Titian possessed an enviable ability to convey the magnificent beauty of color, to give extraordinary life to the color of a naked body. Therefore, Titian is considered the greatest of the Italian colorists.

This wonderful brilliance of color is inextricably linked with the brilliance of the joyful consciousness of existence, which permeates all of Titian's paintings. Bliss and luxury, a feeling of jubilation and a balanced full of light bliss breathe his dignified and important figures of the Venetians. Even in religious paintings by Titian, one is struck above all by the equanimity of pure being, the absolute harmony of feelings and the inviolable integrity of the spirit, which evokes an impression similar to that of the antiques.

Enhancing the drama of images

In his earliest works, Titian clearly adheres to Bellini's style, which he sustained with particular force and from which he completely frees himself in his mature works. In later of them, Titian introduces greater mobility of figures, greater passion in facial expressions, greater energy in the interpretation of the plot. The period after 1540, marked by a trip to Rome (1545-1546), became a turning point in Titian's work: he turned to a new type of figurative depiction, seeking to fill it with heightened drama and intensity of feelings. EsseHomo(1543, Kunsthistorisches Museum, Vienna) and group portrait PaulIII with nephews Alessandro and Ottavio(1546, Capodimonte National Gallery and Museum, Naples).

Titian. Ecce homo ("Behold the man"). 1543

In 1548, summoned by the emperor, Titian travels to Augsburg, where the imperial Diet was held at that time; his equestrian portrait CharlesV inBattle of Mühlberg and a ceremonial portrait PhilipII(Prado, Madrid) earned him the status of the first painter of the Habsburg court.

Titian. Equestrian portrait of Emperor Charles V on the field of the Mühlberg battle. 1548

He continued to create paintings of erotic and mythological content, such as Venus with organist, cupid and dog or Danae(Several variants).

The depth of psychological penetration characterizes the new portraits of Titian: these are Clarissa Strozzi at the age of five(1542, State Museums, Berlin), A young man with blue eyes also known as Young Englishman(Palazzo Pitta, Florence).

Titian. Portrait of a Young Englishman (Portrait of an Unknown Man with Gray Eyes). OK. 1540-1545

The influence of mannerism on Titian

In Venice, Titian's activities were concentrated primarily in the field of religious painting: he painted altar images, such as Martyrdom of Saint Lawrence(1559, Jesuit church).

Titian. Martyrdom of Saint Lawrence. 1559

Among his latest masterpieces are Annunciation(San Salvatore, Venice), Tarquinius and Lucretia(Academy of Fine Arts, Vienna), Crowning with thorns (Bavarian picture collections, Munich), which mark the clear transition of Titian to the mannerist stage. The great artist really brings painting to its logical conclusion “with all color”, creating a language that allowed experimenting with new, deeply expressive means.

Titian. Annunciation. 1562-1564

This approach had a strong impact on Tintoretto, Rembrandt, Rubens, El Greco and some other major masters of the time.

Titian's last painting, which was not completely finished after his death, was Pietà (Academy, Venice), exposing the already trembling hand of a 90-year-old man, but in composition, power of color and drama, it is remarkable in a high degree. Titian died of the plague at the age of about 90 in Venice on August 27, 1576 and was buried in the church of Santa Maria dei Frari.

By the indefatigability and vitality of the genius, Titian has a rival only to Michelangelo, next to whom he stood for two-thirds of the 16th century. What Raphael was to Rome, Michelangelo to Florence, Leonardo da Vinci to Milan, Titian was to Venice. He not only completed in a number of major works the combined efforts of previous generations of the Venetian school, but also brilliantly opens a new era. Its beneficial influence extends not only to Italy, but spreads throughout Europe. The Netherlands - Rubens and Van Dyck, the French - Poussin and Watteau, the Spaniards - Velazquez and Murillo, the British - Reynolds and Gainsborough owe Titian as much as the Italians Tintoretto, Tiepolo and Paolo Veronese.

Ascension of Mary

On August 15, Germany celebrates a large religious holiday - "The Ascension of Mary" (Maria Himmelfahrt).

It is dedicated to the memory of the ascension of the mother of God to heaven and is held in all Christian churches with some difference in dates. Ascension has different meanings among different peoples: immersion in sleep - among the Greeks, assumption (from falling asleep) - among the Slavs, hence its full name among the Orthodox - the Assumption of the Most Holy Theotokos or the Virgin Mary. In the West, the Latin is fixed - taking, accepting, therefore this day is called the Taking of the Blessed Virgin Mary into heavenly glory. All these names reflect one thing: despite the visible bodily death, Mary remained immortal.

The holiday dates back to the first centuries of Christianity, and since 582, under the Byzantine emperor of Mauritius, it has already been celebrated everywhere. Since 595, the holiday began to be celebrated on August 15 in honor of the victory of Mauritius over the Persians. You ask: "What does Mauritius and his victories have to do with it?" The fact is that, despite the wide veneration and memory of her, little is known about the mother of Jesus Christ. In modern terms, there are many "blank spots" in her life. And what is known is interpreted ambiguously in different sources. For example, the day of her burial is not specified anywhere. So why not take an arbitrary date?

Let's try to present the biography of the Virgin Mary.

The date of her birth is called 20 BC. e. Jerusalem is considered the birthplace. According to another version, Mary was born in Sepphoris near Nazareth, in Galilee.

The Proto Gospel of James says that Mary's parents were Saints Joachim and Anna. The middle-aged couple had no children, for which Joachim was expelled from the temple and went to the mountains to the shepherds. There an archangel appeared to him and foretold the birth of Mary. The righteous Joachim and Anna made a vow that if the Lord gives them a child, they will consecrate him to God, and, as was then customary, they will give him to the temple to serve until he comes of age. A year later, on September 8, their daughter was born.

Maria grew up in an environment of special ritual purity. At the age of 3, the child<ввели во храм>... The girl had visions of angels all the time. By the age of 12, Mary took a vow of eternal virginity. But she could not stay at the church, and a husband was chosen for her, who respected her vow - the aged Joseph the Betrothed. According to another version, this happened when she was 14 years old, at the initiative of the high priest.

At Joseph's home, Mary worked on purple yarn for the temple curtain. After reading in the holy book about the chosen one who will give birth to a son of God, she exclaimed that she would like to be at least a servant to her. And the Annunciation happened - the Archangel Gabriel sent from heaven by God informed Mary about the forthcoming birth of the Savior from her.

Seeing that his wife was expecting a child, the husband, out of pity, did not want to publicly dishonor her. The Archangel Gabriel appeared and reassured him by telling him about the virginity of conception. According to another version, after being visited by an angel, the virgin was publicly tested by "bitter water, cursing" unfaithful wives. She managed to pass the test, which confirmed her chastity.

The Romans took a census, and Mary and Joseph went to Bethlehem. Since all the hotels were occupied, the travelers had to stay in the stalls where Christ was born. There they were found by the wise men and shepherds.

When describing the life of Jesus Christ, Mary is also mentioned from time to time. At Calvary, the Mother of God stood near the cross. The dying Christ entrusted his mother to the Apostle John. This is all there is about her in the New Testament.

It is believed that she died in Jerusalem or Ephesus 12 years after the ascension of Christ. According to legend, the apostles from all over the world managed to come to the deathbed of the Mother of God, with the exception of the Apostle Thomas, who arrived three days later and did not find Mary alive. At his request, her tomb was opened, but there were only fragrant sheets. Christians believe that Mary's death was followed by her Ascension (according to the Orthodox tradition on the third day), and Jesus Christ himself appeared after her soul at the moment of death. Catholics believe that after the ascension of the Virgin Mary, her coronation took place.

The Dormition of the Theotokos is an edification that death is not the destruction of human existence, but only the transition from earth to heaven to eternal immortality.

Many icons and statues of the Virgin Mary are surrounded by deep veneration and are considered miraculous. They serve as objects of mass pilgrimages.

Young Titian received an excellent art education. After a short study with the mosaicist Sebastiano Zucatti, he moved to the workshop of Giovanni Bellini, around which the best artistic forces of Venice rallied at that time. Together with Titian, Giorgione da Castelfranco and Sebastiano del Palmo worked in the studio, who later introduced Rome to the coloristic discoveries of the Venetian school of painting. Titian was greatly influenced by Giorgione in the early period. This influence is felt in his painting more strongly than borrowing from the style of the teacher, G. Bellini, a master who very gradually comprehended the problems of the High Renaissance. Giorgione, the same age as Titian, developed extremely quickly as an artist. He is the first representative of the mature Renaissance in Venetian art. Titian organically mastered the system of expressive means of Giorgione, his understanding of harmony. It is not without reason that even now it is not easy to distinguish some of the canvases of both masters, and one of the first paintings by Titian, The Concert (1510s), has long been attributed to Giorgione. After his death, Titian, by the way, finished his famous "Sleeping Venus" by painting a landscape background.

“Earthly and Heavenly Love”. 1514. Oil on canvas. Borghese Gallery, Rome.

However, an attentive eye can also distinguish features characteristic only of Titian in the works of this early period. This is, first of all, the great inner activity of the heroes, the psychological saturation of the images, which manifested itself even in such a contemplative portrait as "Portrait of a Young Man with a Glove" (between 1515 and 1520). Gradually, Titian develops his own style, which has absorbed all the best features of his predecessors: richness of color, harmony of physical and spiritual principles, embodied in the images of heroes. These features were fully manifested already in the canvas "Earthly and Heavenly Love" (1510s), in which the figures of two women reveal different aspects of a triumphant feeling. These figures are not so much opposed to each other, as it was in the literary source of the plot, the poem by Marsilio Ficino, as they complement one another. In this work, Titian demonstrates his already mature coloristic talent. Golden rich tones in the image of the human body will now forever remain in his palette.
The huge canvas "The Ascension of Mary" ("Assunta"), made by Titian in 1518 for the Church of Santa Maria Gloriosa de Frari, is distinguished by the powerful dynamics of composition, the dynamics of revealing the state of mind of a person.

"The Ascension of the Mother of God" ("Assunta"). 1516-1518. Oil on wood. C. Santa Maria Gloriosa dei Frari, Venice.

The viewer immediately notices the figure of Mary in bright red robes, who slowly, smoothly and confidently rises into the air. People at the bottom of the composition, as if spellbound, follow its movement. Oddly enough, but this fantastic flight creates the impression of absolutely real, the central figure is so materially written. There is nothing of mysticism, exalted knowledge, miracle. Young Titian often depicts figures in a broad, but internally clearly organized and measured movement. The canvas "Bacchus and Ariadne" (1523) is indicative in this respect. Bacchus quickly and easily descends from the chariot to meet the girl. His figure is not only compositional, but also the dynamic center of the picture. In the group of companions of the young god, in the figure of Ariadne herself, this light, natural, but at the same time exquisite dance movement seems to vary, developing and enriching.

Bacchus and Ariadne. 1520-1522. Canvas, oil. National Gallery, London

Titian tries his hand at different painting genres, easily assimilating a variety of artistic formats. He paints large altarpieces. In addition to the already mentioned "Assunta", one of the most decorative works of the early period can be named, the composition "Madonna of the Pesaro Family" (1519-1526) for the same church dei Frari. He organizes the composition on the juxtaposition of a diagonally located group of characters, whose rhythmic axes in a wide spiral go from the foreground into depth, and powerful vertical columns. Such compositional schemes will find further development in the art of the 17th century, in baroque painting, in particular in the work of Rubens, who in general very carefully studied the legacy of the great Venetian.

"Madonna with Saints and Members of the Pesaro Family". 1519-1526. c. Santa Maria Gloriosa dei Frari, Venice.

And next to the representative solemn canvases in the same years, the artist paints small paintings in which the conflict is revealed through the contrast of the characters of two or three characters. The Denarius of Caesar (1515-1520) is a classic example of such works. Dramaticism arises due to the comparison of the enlightened image of Christ with the ugly figure of the Pharisee. In a very laconic form, this canvas tells about the eternal struggle between good and evil. The plot of the Gospel parable has been translated into a plan of reflections on the nature of man, on his dignity.

"The Dinarius of Caesar". 1516. Oil on wood. Dresden Picture Gallery.

In the 1530s. Titian's work is enriched with new shades. The images of the heroes acquire more specificity, sometimes unobtrusively interpreted genre motifs appear in his compositions. The painting “Venus of Urbino” (1538) uses the graphic motif of “Sleeping Venus” by Giorgione. But how much more realistic Titian interprets his model. The image of the ancient goddess is immediately recognizable as a Venetian in the interior of the 16th century. The mythological coloring does not deprive the image of the concreteness of life.

"Venus of Urbinskaya". About 1538. Canvas, oil. Uffizi Gallery, Florence.

Most of the painting "Introduction to the Temple" (1534-1538) is occupied by the image of a crowd watching little Mary as she climbs the high steps to the temple. Among those present there are important patricians and people from the people: a woman with a baby in her arms, an old merchant near the steps. These images bring an element of democracy to the sublime structure of Titian's canvases.

"Introduction to the Temple." 1534-1538. Canvas, oil. Accademia Gallery, Venice.

The Italian painter Titian Vecellio da Cadore made a huge contribution to world art. Recognized as the best painter in Venice even when he was not even thirty years old. Placed on a par with such artists as Raphael, Leonardo da Vinci, Michelangelo. Mostly the subject of his paintings were biblical and mythological themes, but he was also famous as a portrait painter.

With his famous painting "The Ascension of the Virgin", Titian begins a new stage in his work. The beginning of the picture was the victorious end of the war with the German emperor, who seized all the possessions of Venice. And the day of its foundation is the day of the Annunciation of Mary. It was with this atmosphere of triumph and triumph that Titian imbued his work.

The picture has three levels. On the first, we see the apostles. They are no different from humans. They crowd, pull their hands up, fall to their knees, pray. They have a large cloud above their heads, on which the Mother of God stands. Many little angels accompany her. She stretches out her hands to God, who is above her head in the presence of angels. The upper part of the painting is illuminated with a golden bright light. Present in the picture and red tones. Mary's dress, covered with a blue cape, and some of the robes of the apostles. The whole picture is bright, emotional and mesmerizing.

When the new altarpiece of Santa Maria Gloriosa dei Frari was restored, everyone was just delighted with the huge canvas perfectly arranged in the interior of the temple. This was the commemoration of a real revolution in the art of Venice.

Titian. Ascension. (1516-1518)

In the four hundred and fifty-first year, the Byzantine Empress Pulcheria built in Blachernae, the northern region of Constantinople, a magnificent temple in honor of the Virgin. Pulcheria appealed to Patriarch Juvenaly in Jerusalem with a request to take the relics of the Mother of God from Gethsemane in order to keep the shrine in the new church. Patriarch Juvenaly replied that this was impossible, for there are no relics of the Mother of God, because the Most Holy Virgin was ascended to heaven.

Indeed, the tomb in Gethsemane served as the tomb of the Blessed Virgin only for three days.

According to legend, the place of the Assumption of the Virgin was the Zion chamber, the very house where the Last Supper took place, where on the day of Pentecost the Holy Spirit descended on the apostles and the Mother of God. The Lord accepted the soul of the Virgin Mary and brought Her to heaven. The apostles Peter, Paul, James and others raised the bed on which the body of the Mother of God lay and went to Gethsemane. Here, at the foot of the Mount of Olives, the righteous Anna, the mother of the Virgin Mary, once bought a plot of land. A tomb was built on it, in which the parents of the Most Holy Theotokos and the righteous Joseph the Betrothed were laid to rest.

The solemn funeral procession went through all Jerusalem. Saint John the Theologian carried a date branch in front of him from a paradise tree. Her Virgin Mary was handed over by the archangel Gabriel three days before the Assumption. The branch shone with heavenly light. According to legend, a cloudy circle appeared over the procession - a semblance of a crown. Everyone sang, and the heavens seemed to echo the people. The inhabitants of Jerusalem were amazed at the grandeur of the funeral of an ordinary woman.

The Pharisees ordered to disperse the procession, and burn the body of the Virgin. But a miracle happened - the shining crown hid the procession. The warriors heard footsteps and chants, but saw no one.

According to legend, the Apostle Thomas could not get to Jerusalem to say goodbye to the Mother of God. He was very distressed that he had not received the last blessing of the Most Pure Virgin. Then the disciples decided to open the tomb so that Thomas could say goodbye to the Mother of God. They rolled away the stone, but the tomb was empty ...

In perplexity and excitement, the apostles sat down together for the evening meal. Traditionally, one seat at the table was free. The apostles left him for their Christ, who was invisibly present between them. The bread left at an unoccupied place was then broken between everyone as a gift and a blessing. So this time they raised the bread to share it with the prayer "Lord Jesus Christ, help us!" The apostles looked up and saw the Most Pure Virgin Mary surrounded by many angels. The Mother of God greeted them and blessed them: "Rejoice! I am with you all the days!" The apostles exclaimed: "Most Holy Theotokos, help us!" They became the first witnesses that the Mother of God did not leave the world. "You preserved your virginity at Christmas, you did not leave the Mother of God in the Assumption of the world ..." - the troparion reminds us - the chant of the feast of the Assumption.