Titian (Tiziano Vecellio) (1488/90-1576)

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He was rightfully called a titan of the Renaissance, and he knew his own worth, never hesitating to name it. Few ordinary people could boast of owning even one of his paintings. The artist painted exclusively for wealthy patrons. One of them once said, Titian is the most greedy of all beings created by nature.

The exact date of Vecellios birth is unknown. He was likely born in the second half of the 1480s in the Italian town of Cadore. Noticing his sons inclination towards painting, his father sent him to Venice to study. Here, in the workshop of the artist Bellini, Titian met Giorgione. The young artist, talented and refined, was so captivating that Titian became his assistant and student without hesitation. They worked together until Giorgiones death. The working techniques of both artists were so similar that after Giorgiones death, Titian completed several of his paintings, including The Sleeping Venus. In 1510, to escape an epidemic of plague, Titian moved to Padua for a year. Here, at the request of monks, he painted frescoes on the facade of the building of Saint Anthony. Titians style was still close to that of Giorgione, but the opportunity to work independently filled the young artist with confidence in his own abilities. After returning to Venice, Titian received an invitation to the court of the Pope, but he declined the flattering offer, dreaming of becoming the chief painter of Venice.

In 1513, the artist offered his services to the Venetian Republic for painting the hall of the Great Council, emphasizing that only he was capable of performing such a complex work. In return, Titian proposed being appointed as the official painter of the republic. The desired position and commission for the painting The Battle of Spoleto were received by the artist only a year later. He stretched the work on the canvas for five years, during which time he regularly received money from the treasury and letters from the authorities demanding that he complete the work. In 1518, Titian created his first significant religious work – the altarpiece of the Assumption. The image of the Virgin Mary seemed so daring and blasphemous to the clients, the Franciscan monks, that they initially refused the painting. Titian immediately came up with a story about an Austrian ambassador who supposedly begged him to sell him this panel. The monks, fearing that they might lose the painting, immediately took back the Assumption.

Recommendations from Duke Alfonso Ferara, a long-time admirer of Titians talent, opened doors for the artist in the most influential houses of Italy. Soon, the talented painter received the positions of first advisor on art matters at several Italian courts. Cardinals and nobles, visiting Venice, обязательно навещались в мастерскую Тициана, чтобы посмотреть картины и заказать свой портрет. The most frequent client was Emperor Charles V, who granted Titian the title of count and appointed him his court painter. Over time, there were so many commissions that the artist could no longer fulfill them himself. Paintings started by the great master were completed by his apprentices. But nobles were willing to pay large sums even for those works in which Titian only had the idea.

The artist always depicted women with a sense of sincere admiration: Laura, Venus Urbino, Venus before the mirror. No painter of the Renaissance managed to create such beautiful female images. Titian sang not only high virtues but also the sensual beauty of women.

Titians biographer Dolce wrote: There are no refinements in his works, no artificial embellishments, no harshness, but there are accurate colors, confident brushstrokes, softness and gentleness of nature itself. However, in Titians personal life, women played a secondary role for a long time. He pushed away thoughts of marriage, remembering the advice of his teacher Giorgione: An artist should not touch a woman, otherwise he will have to work only to feed his children. Only when Cecilia Soldano appeared in his house, a girl whom Titians brother invited to manage the household, did the artist deviate from his rules.

After Cecilia gave birth to two sons, they got married, but this marriage was not long-lived. Five years later, Cecilia died during childbirth. Titian himself lived a long life and died during an epidemic of plague in 1576. The Venetians respect for the great artist was so great that his body was not burned, contrary to strict rules, but was moved to the church. The era in which the great artist lived and worked remained in history as the era of Titian.

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