Biography Titicano

Titian, Titian Vechellio was born in Piev Dee Cador in a family with old and noble traditions. There are no documents that would accurately certify the date of his birth. This important problem associated with the establishment of chronology of the early period of his work was long discussed by researchers. In the end, three versions formed. In the register of the deceased, preserved in the parish of San Kanchano in Venice, where Titian graduated from his days on August 27, it really indicates that he "died at the age of one hundred and three years": hence the artist was born in the year.

On the other hand, the assumption that Titian lived for more than a hundred years is confirmed by an excerpt from a letter sent by him to Philip II of the first of August, in which he complained that he was already ninety -five years old. However, this contradicts what some contemporaries of Titian wrote. Vasari in the second edition of their biographies, published in the year and describing the biographer with an artist in Venice in the year, claims that at that time it was seventy -six years old.

Dolce in the year wrote that “he was not another twenty years old,” when in years Titian worked on the frescoes of Fondako dei Tedeska of the German courtyard. From these evidence, it follows that the date of birth of Titian should be attributed to the period between and years. The third hypothesis is based on the alleged dating of one of the youthful works of Titian - a warfare image now in Antwerp, which depicts Jacopo Pesaro and Pope Alexander VI in front of St.

Peter. This picture was written in commemoration of the victory won over the Turks under Santa Maur on August 30 by the Papal Fleet under the leadership of the Jacopo Pesaro, supported by the Venetian fleet, commanded by Kuzen Bendetto. According to some critics, the altar image in the memory of the battle could be performed shortly after this event. From this we can conclude that the date of birth of Titian dates back to the first half of the nineties of the 15th century, since the artist at the time of the performance of the picture - to earn confidence - should have turned at least twenty years.

Of the three hypotheses, the second seems to us the most acceptable. In fact, even if you neglect the information reported by Titian contemporaries and undoubtedly emanating from the artist himself, and to believe that he was really born in the year, his debut as a painter took place very late when he was more than thirty years old. On the other hand, the dating of the years proposed for the altar image from Antwerp is unreliable: in our opinion, it was created in a later period of creativity, a slightly earlier small altar picture now in the Santa Santa Sacristy, dating from which has a lot in common.

Modern Titian sources agree that as an artist he was formed very early. Having got into Venice almost a child, he began to study with his brother Francesco in the workshop of Sebastiano Dzukkato, the father of the Venetian mosaists Valerio and Francesco, who worked in the Cathedral of San Marco, then moved to the Gentile and Giovanni Bellini workshop, at that time the most revered Venetian artists.

Here he met with the rising stars of Venetian painting - Sebastiano del Piombo and Georgon. Together with the last in the years, Titian apparently painted, alternately, the external walls of the newly rebuilt Fondaco dei Tedeska.

Georgeon was entrusted with the execution of frescoes on the main facade, which faces a large channel, and the younger Titian - frescoes on the side wall facing Calle del Buzo. If we compare, for example, the so -called “Judith” or “justice” of Titian with the “naked” Georgone, it is easy to notice the significant difference between the two artists during this period of creativity. Titian is dynamic and courageous in the image of a mighty female figure, captured at the moment when she tramples the bloodied head; Its drawing is a little and color is realistic.

In Georgon, on the contrary, stylized elegance dominates, and the flavor is somewhat conditional and forced by the “color, bright red and glowing”, which Anton Maria Dzanetti spoke about in the year. In a very difficult time between the end and the beginning of the year, when a terrible threat emanated on the horizon, emanating from the Cambreis League, the painting of Fondako dei Tedeska, possibly sought to glorify the civil and military valor of the Venetians that could withstand any enemy, including German imperial troops.

In general, Titian frescoes reveal the spirit rather northern than classic. Both in this and in other works related to the beginning of Titian's activities, his interest in the work of numerous artists who “came from Western countries” and worked at that time in Venice is obvious. Among them, of course, the figure of Albrecht Dürer, who first arrived in the city on Lagun in and appeared here again in the years, when German merchants from Fontako dei Tedeska invited him to write “Madonna with rosary” for the Church of Vicarians San Bartolome, towered.There is no doubt that the young Titian was among those local painters who, as Dürer wrote to his friend Pirkheimer in the year, besieged his workshop in crowds, trying to get his drawings and “abduct” ideas.

Titian's attention is also confirmed by Vasari, who said that Titian in his youth sheltered German artists in his house to learn from them the secrets of landscape painting, and that he wrote animals “from nature”. Vasari mentioned in this regard the painting “Fleet to Egypt”, which Titian performed for Andrea Loweran now identified with the canvas located in the St.

Petersburg Hermitage. Many other works of Titian, related to the beginning of creativity - from the front walls of KA Carson from the City Museum in Padua to “Andimion” from the Barnes collection in Merion and “Orpheus” and “Eurydians” from Bergamo, also indicate a deep interest in the realistic transmission of nature. Portraits of this period were marked with vivid realism, among which the “male portrait” stands out with high picturesque virtues, the old criticism mistakenly considered it the image of Ariosto; In fact, he apparently portrays Barbarigo.

Text - Filippo Pedroco, translation from Italian - I.