Lives of Titian, ed. Carlo Corsato, London, 2019 (original) (raw)
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Painting in Sixteenth-Century Venice: Titian, Veronese, Tintoretto.David Rosand
Speculum, 1999
carnis R L; lucia saluo pudoris signaculo] lucia uirgo saluo pudoris R L. Dozens of similar variants prove irrefutably that the Lambeth text engendered that in Royal 6 B.vii. Richter plainly has the expertise to make the foregoing deductions, which, in turn, might have led him to investigate the origins of Exeter manuscripts, to disambiguate aspects of the textual history, and perhaps to find reasons for innumerable Latin absurdities in an ostensibly deluxe volume. By any reckoning, then, investigations of the date and textual transmission should not be set aside in the study of a single manuscript. For the record: vernacular glosses are frequently transmitted with Latin ones in multiple manuscripts, and tackling the transmission of such scholia means exploring the entire corpus, no matter the size. I am not simply impeaching the fifty-meter champion for failing to run the marathon. The decision to record only vernacular glosses and to ignore thousands of Latin ones has compromised this otherwise learned volume on many levels.
2018
of the Arts in Qatar THE PROCESS OF PRODUCING woodcut portraits to illustrate the second edition of Giorgio Vasari's Vite, published in Florence by the Giunti in 1568, was laborious, long, and complicated. 1 From his correspondence with the historian and collector Paolo Giovio, it is possible to gather that the Aretine harbored ambitions for such illustrations for the publication in 1550 of the first edition of his book by Lorenzo Torrentino and was already considering prototypes for such portraits at
Titian: The Expressive Technique of the Aged Artist
The Expressive Technique of the Aged Artist , 2018
Essay detailing some of Titian's most famous works, looking at self-expression through painting, memento mori, emotion, as well as topics of mortality and death. The focus of this paper is to shed light on aspects of symbolism found in some of the artist's later pieces in order to determine why his style changed so drastically over time.
Body, Identity, and Narrative in Titian's Paintings
In the Renaissance, the bodies of individuals were understood as guides to their internal identities, which influenced the public understanding of the figure represented in art—be it in terms of politics, personal life, or legacy. The classicizing and religious paintings by Titian (c. 1488/90-1576) show the subject’s state of being, at a particular moment in a story, through the use of body language. The body is a vehicle for narrative that demonstrates the sitter’s identity, relating the intricacies of the body to both the mind and the story. By exploring the humanist combination of philosophical theories regarding the relationship between the soul and the body, it is clear that Titian used these concepts to elevate the human figures in his narrative paintings. Formal analysis and Renaissance artistic theories by Alberti and others suggest that Renaissance artists operated under the assumption that how their sitters appeared was tantamount to representing their identities. Current scholarship has not yet considered this particular relationship in Titian’s works. Analysis of several of Titian’s depictions of female subjects— such as Mary Magdalene, Salome, Callisto, and Ariadne—suggests that while Titian fulfilled Alberti’s guidelines for figural narrative depictions, he went further, giving the women in his paintings identities and thus agency. In this way, Titian makes it clear that Alberti’s emphasis on the role of figures in a painted narrative does not do enough to give figures identity. By representing these females, not only through flesh, but also with identity, Titian creates paintings that act as equalizers for the female gender during the Renaissance.