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This early portrait ID de tableau:: 61109 Voir la galerie dans Suède |
This early portrait 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. 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. |
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Salome, or Judith ID de tableau:: 61118 Voir la galerie dans Suède |
Salome, or Judith Salome, or Judith; this religious work also functions as an idealized portrait of a beauty, a genre developed by Titian, supposedly often using Venetian courtesans as models. Salome,_or_Judith;_this_religious_work_also_functions_as_an_idealized_portrait_of_a_beauty,_a_genre_developed_by_Titian,_supposedly_often_using_Venetian_courtesans_as_models. |
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It took Titian two years ID de tableau:: 61120 Voir la galerie dans Suède |
It took Titian two years It took Titian two years (1516?C1518) to complete the oil painting Assunta, whose dynamic three-tier composition and color scheme established him as the preeminent painter north of Rome. It_took_Titian_two_years_(1516?C1518)_to_complete_the_oil_painting_Assunta,_whose_dynamic_three-tier_composition_and_color_scheme_established_him_as_the_preeminent_painter_north_of_Rome. |
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Titian state portrait of Emperor Charles V at Mehlberg established a new genre, ID de tableau:: 61135 Voir la galerie dans Suède |
Titian state portrait of Emperor Charles V at Mehlberg established a new genre, Titian's state portrait of Emperor Charles V at Mehlberg (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. Titian's_state_portrait_of_Emperor_Charles_V_at_Mehlberg_(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. |
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Titian unmatched handling of color is exemplified by his Danae, ID de tableau:: 61136 Voir la galerie dans Suède |
Titian unmatched handling of color is exemplified by his Danae, Titian's unmatched handling of color is exemplified by his Danae, 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. Titian's_unmatched_handling_of_color_is_exemplified_by_his_Danae,_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. |
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