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 :. | Portrat des Karl V. im Lehnstuhl | Danae | Sacred and Profanc Love | The Child with the dogs (mk33) | Kirschen-Madonna |
Related Artists:
Luke Fildes
1844-1927 English painter and illustrator. He first studied art at the Mechanics Institute in Liverpool and at the nearby Warrington School of Art. In 1863 he won a scholarship that enabled him to study at the South Kensington Art School in London and subsequently at the Royal Academy Schools.
anguissola sofonisba
The best known of the sisters, she was trained, with Elena, by Campi and Gatti. Most of Vasari's account of his visit to the Anguissola family is devoted to Sofonisba, about whom he wrote: 'Anguissola has shown greater application and better grace than any other woman of our age in her endeavours at drawing; she has thus succeeded not only in drawing, colouring and painting from nature, and copying excellently from others, but by herself has created rare and very beautiful paintings'. Sofonisba's privileged background was unusual among woman artists of the 16th century, most of whom, like Lavinia Fontana (see FONTANA (ii),(2)), FEDE GALIZIA and Barbara Longhi (see LONGHI (i), (3)), were daughters of painters. Her social class did not, however, enable her to transcend the constraints of her sex. Without the possibility of studying anatomy, or drawing from life, she could not undertake the complex multi-figure compositions required for large-scale religious or history paintings. She turned instead to the models accessible to her, exploring a new type of portraiture with sitters in informal domestic settings. The influence of Campi, whose reputation was based on portraiture, is evident in her early works, such as the Self-portrait (Florence, Uffizi). Her work was allied to the worldly tradition of Cremona, much influenced by the art of Parma and Mantua, in which even religious works were imbued with extreme delicacy and charm. From Gatti she seems to have absorbed elements reminiscent of Correggio, beginning a trend that became marked in Cremonese painting of the late 16th century. This new direction is reflected in Lucia, Minerva and Europa Anguissola Playing Chess (1555; Poznan, N. Mus.) in which portraiture merges into a quasi-genre scene, a characteristic derived from Brescian models.
Peter von Hess
(29 July 1792, Dseldorf - 4 April 1871, Menchen) was a German painter, known for historic paintings, especially of the Napoleonic Wars and the Greek War of Independence. Peter von Hess initially received training from his father Carl Ernst Christopher Hess. He accompanied his younger brother Heinrich Maria to Munich in 1806, and enrolled at the Munich Academy at the age of sixteenth. He also trained under Wilhelm von Kobell. During the Napoleonic Wars, he was allowed to join the staff of General Wrede, who commanded the Bavarians in the military operations which led to the abdication of Napoleon. There he gained novel experiences of war and a taste for extensive travel. During this time, von Hess painted his first battle pieces. In 1818 he spent some time in Italy where he painted landscapes and various Italian scenes. In 1833, at Ludwig's request, he accompanied Otto of Greece to the newly formed Kingdom of Greece, where at Athens he gathered materials for pictures of the war of liberation. The sketches which he then made were placed, forty in number, in the Pinakothek, after being copied in wax on a large scale by Nilsen, in the northern arcades of the Hofgarten at Munich. King Otho's entrance into Nauplia was the subject of a large and crowded canvas now in the Pinakothek, which Hess executed in person.