Flight into Egypt Titian (Tiziano Vecellio) (1488/90-1576)
Titian – Flight into Egypt
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Painter: Titian (Tiziano Vecellio)
Location: Hermitage, St. Petersburg (Эрмитаж).
"Escape to Egypt" is considered one of the earliest works by the great Renaissance artist Titian, made probably in 1507 or 1508. The work is painted on a canvas of impressive size (206 x 336 cm), most of the composition is landscape. Catherine the Great bought this canvas in 1768 in Venice. It was recently restored and opened for display in the Hermitage in St. Petersburg. Mary rides a donkey, her child on her lap, and Joseph walks on foot.
Description of Titian Vechellio’s painting Escape to Egypt
"Escape to Egypt" is considered one of the earliest works by the great Renaissance artist Titian, made probably in 1507 or 1508. The work is painted on a canvas of impressive size (206 x 336 cm), most of the composition is landscape. Catherine the Great bought this canvas in 1768 in Venice. It was recently restored and opened for display in the Hermitage in St. Petersburg.
Mary rides a donkey, her child on her lap, and Joseph walks on foot. The group of travelers is led by a young man, probably an angel - according to the tradition of the images of the time, necessarily accompanying the Holy Family. The unprecedented sensitivity to light, so characteristic of almost all Titian paintings, fills the picture. He spontaneously takes a somewhat naive approach to the vision of nature, especially in the depictions of animals. The young artist shows us his mastery of landscape painting, his bold strokes and exciting use of color will later become the hallmark of his artistic style. The landscape attracts the eye with the incredible green of the foliage, the blue of the sky, the deep blue of the mountains in the distance.
"Escape to Egypt" was commissioned by Andrea Loredan, a Venetian patrician, a relative of the Venetian Doge Loredan, who was considered a patron of many painters of the time. The painting was planned to adorn the portico of Loredan’s palace on the Venetian Grand Canal, which now houses the casino. Loredan was also the patron of such great artists who worked on Venetian soil as Giovanni Bellini, Giorgione and Sebastiano del Piombo.
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The landscape itself is rendered with considerable detail. A variety of trees – some tall and slender, others broad and leafy – create a layered effect, obscuring the background while simultaneously providing depth to the scene. The ground is uneven, covered in grass and scattered with vegetation. In the middle distance, other figures are visible, seemingly part of the same group, though their actions are less defined. A small herd of sheep and cattle graze peacefully, contrasting with the sense of movement and potential peril evident in the foreground.
A significant element within the scene is the presence of wildlife. A deer bounds across the field, pursued by a hunting dog; this detail introduces an undercurrent of danger and the precariousness of their situation. The inclusion of these animals also contributes to the overall pastoral quality of the setting, softening the potential harshness of their flight.
The color palette is dominated by earthy tones – greens, browns, and ochres – which contribute to a sense of naturalism. However, the woman’s vibrant pink robes provide a striking contrast, drawing immediate attention to her and emphasizing her importance within the narrative. The sky above is overcast, suggesting an atmosphere of uncertainty and foreboding.
Subtly, the painting conveys themes of displacement, protection, and the intersection of human drama with the natural world. The hurried pace of the figures suggests a sense of urgency and potential threat, while the peaceful presence of the animals hints at a fragile hope for safety and sustenance amidst adversity. The landscape itself becomes more than just a backdrop; it functions as an active participant in the unfolding narrative, simultaneously offering shelter and hinting at unseen dangers.