Assumption of the Virgin (Titian): Difference between revisions
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===Composition=== |
===Composition=== |
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Titian may have trained as a [[mosaic]] artist, and it has been suggested the golden background is a homage to the tradition of Venetian mosaics. <ref name="mvmnt" /> |
Titian may have trained as a [[mosaic]] artist, and it has been suggested the golden background is a homage to the tradition of Venetian mosaics. <ref name="mvmnt" /> |
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Titian was primarily an oil-ground painter which was prepared by his assistants. No one has the exact recipe, but the basic ingredients included [[linseed]] oil and gum [[turpentine]]. <ref name="oilpaints">{{cite web | url=http://www.amien.org/forums/showthread.php?1794-Titian-grounds-and-mediums | title=Oil Ground Painting | accessdate=2011-01-24 | publisher=Amien Forums}}</ref>. Compositionally, [[Raphael]]'s |
Titian was primarily an oil-ground painter which was prepared by his assistants. No one has the exact recipe, but the basic ingredients included [[linseed]] oil and gum [[turpentine]]. <ref name="oilpaints">{{cite web | url=http://www.amien.org/forums/showthread.php?1794-Titian-grounds-and-mediums | title=Oil Ground Painting | accessdate=2011-01-24 | publisher=Amien Forums}}</ref>. Compositionally, [[Raphael]]'s Transfiguration is the closest precedent. The heroic figures and size were a new idea when the ''Assumption'' was placed in the Basilica. With its big dimensions, Titian was able to showpiece his work from different standpoints. He knew that with the varying distances of viewpoints, the bigger the picture, the more the angles. <ref name="composition">{{cite web | url=http://venice.umwblogs.org/exhibit/titians-altarpieces-color-innovation-and-invention/titian-assumption-of-the-virgin/#_ftn1 | title=Composition | accessdate=2011-01-24}}</ref> |
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==Subject== |
==Subject== |
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Revision as of 05:33, 31 January 2011
| The Assumption and Consecration of the Virgin | |
|---|---|
 | |
| Artist | Titian |
| Year | 1516–1518 |
| Type | Oil on panel |
| Location | Basilica di Santa Maria Gloriosa dei Frari, Venice |
Assumption of the Virgin (1516-1518) [1]is a large oil painting by Titian. It is located on the high altar in the Basilica of Santa Maria Gloriosa dei Frari in Venice, being the largest altarpiece in the city.
Painting
Title
The Assumption of Mary for which this painting is named is celebrated every year on August 15 and is a defined dogma of the Catholic church. It commemorates the rising of Mary in heaven before the decay of her body. It is a sign of her passing into eternal life and thus it a holy day of obligation.[2] There is a distinction between the ascension of Jesus and the assumption of Mary. The ascensions was the rising of Jesus under his own power, while the assumption means that someone else raised up Mary to heaven. It is said that Jesus himself came and carried her up.[3]
Composition
Titian may have trained as a mosaic artist, and it has been suggested the golden background is a homage to the tradition of Venetian mosaics. [4] Titian was primarily an oil-ground painter which was prepared by his assistants. No one has the exact recipe, but the basic ingredients included linseed oil and gum turpentine. [5]. Compositionally, Raphael's Transfiguration is the closest precedent. The heroic figures and size were a new idea when the Assumption was placed in the Basilica. With its big dimensions, Titian was able to showpiece his work from different standpoints. He knew that with the varying distances of viewpoints, the bigger the picture, the more the angles. [6]
Subject
This picture shows different events in three layers. In the lowest layer are the Apostles. They are shown in a variety of poses ranging from gazing in awe to kneeling and reaching for the skies. In the center, the Virgin Mary is drawn wrapped in a red robe and blue mantle. She is raised to the heavens by a swarm of cherubim while standing on a cloud. Above is an attempt to draw God, who watches over the earth with hair flying in the wind. Next to him, flies an angel with a crown for Mary. [7]
Background
The Assumption of the Virgin was Titian's first major commision in Venice. He soon became the lead painter of Venice. Breaking tradition with its heroic character scale and trademark color, passersby were disturbed by the twisted Virgin and adoring worship of the apostles. [8] This panel was important in establishing Titian's popularity in Venice. According to some sources, an envoy to the emperor Charles V was present at the unveiling ceremony: he asked the friars, who were doubtful about the painting's quality, to buy it lest they were tempted to remove it.[9]
Literary Mention
When Titian placed this giant painting in its majestic marble frame, it garnered much attention. It was deemed worth noting by the Venetian diarist Marino Sanuto the Younger who wrote, "May 20, 1518: Yesterday the panel painted by Titian for ... the Minorites was put up."[7]
Movement
In 1818, it was moved to the Venice's Academy, returning to its original place in Frari in 1919. [4]
See also
Notes
- http://www.fineartprintsondemand.com/artists/titian/assumption_of_the_virgin.htm
- http://catholicism.about.com/od/holydaysandholidays/p/Assumption.htm
- http://www.wf-f.org/Assumption.html
- http://timelines.com/1516/titian-paints-his-assumption-of-the-virgin
- http://www.amien.org/forums/showthread.php?1794-Titian-grounds-and-mediums
- http://venice.umwblogs.org/exhibit/titians-altarpieces-color-innovation-and-invention/titian-assumption-of-the-virgin/#_ftn1
- Durant, Will (1953). The Renaissance: A History of Civilization in Italy from the Birth of Petrarch to the Death of Titian - 1204 to 1576
- http://www.metmuseum.org/toah/hd/tita/hd_tita.htm
- Jaffé, David (October 11, 2004). Titian.
References
- ^ "Date of Completion". Retrieved 2011-01-24.
- ^ Scott P. Richert. "About the Assumption of Mary". About.com. Retrieved 2011-01-25.
- ^ "Ascension vs. Assumption". Retrieved 2011-01-25.
- ^ a b "Movement of Painting". Retrieved 2011-01-24.
- ^ "Oil Ground Painting". Amien Forums. Retrieved 2011-01-24.
- ^ "Composition". Retrieved 2011-01-24.
- ^ a b Durant, Will (1953). The Renaissance: A History of Civilization in Italy from the Birth of Petrarch to the Death of Titian - 1204 to 1576. New York: Simon and Schuster. p. 778. ISBN 0671616005.
- ^ Metropolitan Museum of Art. "Background". Titian (ca. 1488–1576). Retrieved 2011-01-24.
- ^ Jaffé, David (October 11, 2004). Titian. London: National Gallery Company. p. 192. ISBN 1857099036.