Tiziano Vecellio Eserleri - Tiziano Vecellio Tabloları - Tiziano Vecellio Resimleri

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Tiziano Vecellio Eserleri - Tiziano Vecellio Tabloları - Tiziano Vecellio Resimleri



Magdalena penitente - Oleo sobre lienzo, 85 x 68 cm, Palacio Pitti (Florencia).



Flora, (1515), sirve como representacion del ideal de belleza renacentista (Galería Uffizi).



La Bacanal, (1518-19): Formo parte de la trilogía de las Bacanales encargada por Alfonso I de Este para su castillo de Ferrara. En el pentagrama que aparece junto a las muchachas se puede leer escrito en frances antiguo: "Quien bebe y no vuelve a beber, no sabe lo que es beber" (Museo del Prado).



Venus de Urbino (1538), inspirada en la Venus dormida de Giorgione, que a diferencia de esta, la de Tiziano esta recostada, no en la naturaleza, sino en un elegante interior. Desde 1963, se mantiene la hipótesis de que podría ser un retrato de la duquesa Eleonora Gonzaga. (Galería Uffizi)



Amor sacro y amor profano, pintado hacia 1515, esta relacionado con el neoplatonismo en esta doble vertiente de amor: la celeste y la vulgar (Galería Borghese).



Pala Pesaro - Oleo sobre lienzo, 385 x 270 cm, Basílica de Santa María Gloriosa dei Frari (Venecia).



Santo Entierro - Oleo sobre lienzo, 137 x 175 cm, Museo del Prado (Madrid).



Salome - Oleo sobre lienzo, 87 x 80 cm, Museo del Prado (Madrid).



Venusrecreandose en la musica, pintada hacia 1550 (Museo del Prado).



Noli me tangere, pintado hacia 1512, muestra el Tiziano mas lineal aun bajo la influencia de la pintura del Quattrocento (National Gallery de Londres).

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Tiziano Vecellio Eserleri - Tiziano Vecellio Tabloları - Tiziano Vecellio Resimleri



The Flaying of Marsyas, little known until recent decades, Gallery in Kromeriz - Czech Republic



The Allegory of Age Governed by Prudence (c. 1565–1570) is thought to depict Titian, his son Orazio, and a young cousin, Marco Vecellio.



Like numerous of his late works, Titian's last painting, the Pieta, is a dramatic scene of suffering in a nocturnal setting. It was apparently intended for his own tomb chapel.



The Death of Actaeon. 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.



The Rape of Europa (1562) is a bold diagonal composition which was admired and copied by Rubens. In contrast to the clarity of Titian's early works, it is almost baroque in its blurred lines, swirling colors, and vibrant brushstrokes.



Titian's state portrait of Emperor Charles V (1548) at Mühlberg 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.



Titian's unmatched handling of color is exemplified by his Danaë with Nursemaid, one of several mythological paintings, or "poesie" ("poems") as the painter called them, done for Philip II of Spain. Although Michelangelo adjudged this piece deficient from the point of view of drawing, Titian and his studio produced several versions for other patrons.



It took Titian two years (1516–1518) to complete his Assunta, whose dynamic three-tier composition and color scheme established him as the preeminent painternorth of Rome.



Salome, or Judith; this religious work also functions as an idealized portrait of a beauty, a genredeveloped by Titian, supposedly often using Venetian courtesans as models.



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.

[Serap]

Tiziano Vecellio Eserleri - Tiziano Vecellio Tabloları - Tiziano Vecellio Resimleri



Baco y Ariadna - Oleo sobre lienzo, 175 x 190 cm, National Gallery de Londres.



Venus y Adonis - Oleo sobre lienzo, 186 x 207 cm, Museo del Prado (Madrid).



Retrato de mujer (La schiavona) - Oleo sobre lienzo, 117 x 97 cm, National Gallery (Londres).



Emperatriz Isabel de Portugal y Aragon - Oleo sobre lienzo, 117 x 93 cm, Museo del Prado (Madrid).



Emperador Carlos V - Oleo sobre lienzo, 205 x 122 cm, Alte Pinakothek (Münich).



El Retrato de Pietro Aretino, pintado hacia 1545, marca el inicio de un Tiziano mas preocupado por el color que por el dibujo (Palacio Pitti).



Clarisa Strozzi - Oleo sobre lienzo, 115 x 98 cm, Museo Estatal (Berlín).