Italian High Renaissance Painter, ca.1485-1576 Italian painter active in Venice. As a young man he was taught by the Bellini family and worked closely with Giorgione. His early works are so similar in style to Giorgione's as to be indistinguishable, but soon after Giorgione's early death Titian established himself as the leading painter of the Republic of Venice. Among his most important religious paintings is the revolutionary and monumental Assumption (1516 ?C 18) for Santa Maria dei Frari, in which the Virgin ascends to heaven in a blaze of colour accompanied by a semicircle of angels. Titian was also interested in mythological themes, and his many depictions of Venus display his work's sheer beauty and inherent eroticism. Bacchus and Ariadne (1520 ?C 23), with its pagan abandon, is one of the greatest works of Renaissance art. Titian was sought after for his psychologically penetrating portraits, which include portrayals of leading Italian aristocrats, religious figures, and Emperor Charles V. He reached the height of his powers in The Rape of Europa (c. 1559 ?C 62), one of several paintings done for Philip II of Spain. He was recognized as supremely gifted in his lifetime, and his reputation has never declined.  Related Paintings of Titian :. | Hl. Hieronymus | Saint Margaret | Alessandro Cardinal Farnese | An Allegory of Prudence | the rape of europa |
Related Artists:
Peter Adolf Hall
painted Self-portrait in before 1793(1793)
ALLORI Cristofano
Italian Baroque Era Painter, 1577-1621 Allori was born at Florence and received his first lessons in painting from his father, Alessandro Allori, but becoming dissatisfied with the hard anatomical drawing and cold coloring of the latter, he entered the studio of Gregorio Pagani (1558-1605) who was one of the leaders of the late Florentine school, which sought to unite the rich coloring of the Venetians with the Florentine attention to drawing. Allori also appears to have worked under Cigoli. His pictures are distinguished by their close adherence to nature and the delicacy and technical perfection of their execution. His technical skill is shown by the fact that several copies he made of Correggio's works were thought to be duplicates by Correggio himself. His extreme fastidiousness limited the number of his works. Several specimens are to be seen at Florence and elsewhere. The finest of his works is his Judith with the Head of Holofernes. It exists in two copies in the Pitti Palace in Florence and in the Queen's Gallery in London. The model for the Judith was his mistress, the beautiful Mazzafirra, who is also represented in his Magdalene; and the head of Holofernes is generally supposed to represent himself.
HEEM, Cornelis de
Dutch painter (b. 1631, Leiden, d. 1695, Antwerpen). Son of Jan Davidsz. de Heem. He spent a great deal of his life in Antwerp, where he was taught by his father. Cornelis also worked in Utrecht in 1667, in nearby IJsselstein in 1676 and in The Hague from 1676 for more than ten years. His best works approach the quality of his father's, particularly in works executed during the decade starting in 1655. Cornelis's still-lifes can be distinguished by daring colour harmonies, sometimes with a strong blue. His compositions are often simpler: fruit-pieces, floral bouquets, festoons and garlands and sumptuous still-lifes,