Titian. Ascension. (1516-1518)

In the four hundred and fifty-first year, the Byzantine Empress Pulcheria built a magnificent temple in honor of the Virgin Mary in Blachernae, the northern region of Constantinople. Pulcheria appealed to Patriarch Juvenaly in Jerusalem with a request to take the relics of the Mother of God from Gethsemane to keep the shrine in the new church. Patriarch Juvenaly replied that this was impossible, for there are no relics of the Mother of God, because the Blessed Virgin was ascended to heaven.

Indeed, the tomb in Gethsemane served only for three days as the tomb of the Blessed Virgin.

According to legend, the place of the Assumption of the Virgin was the Zion chamber, the very house where the Last Supper took place, where on the day of Pentecost the Holy Spirit descended on the apostles and the Mother of God. The Lord accepted the soul of the Virgin Mary and lifted Her to heaven. The apostles Peter, Paul, James and others lifted up the bed on which the body of the Virgin was reclined and went to Gethsemane. Here, at the foot of the Mount of Olives, the righteous Anna, the mother of the Virgin Mary, once bought a plot of land. A tomb was built on it, in which the parents of the Most Holy Theotokos and the righteous Joseph the Betrothed were laid to rest.

The solemn funeral procession went through all Jerusalem. Saint John the Theologian was carrying a date branch in front of him from a paradise tree. Her Virgin Mary was handed over by the archangel Gabriel three days before the Assumption. The branch shone with heavenly light. According to legend, a cloudy circle appeared over the procession - a semblance of a crown. Everyone sang, and the heavens seemed to echo the people. The inhabitants of Jerusalem were amazed at the grandeur of the funeral of an ordinary woman.

The Pharisees gave orders to disperse the procession and burn the body of the Virgin. But a miracle happened - the shining crown hid the procession. The warriors heard footsteps and chants, but saw no one.

According to legend, the Apostle Thomas could not get to Jerusalem to say goodbye to the Mother of God. He was very sad that he had not received the last blessing of the Most Pure Virgin. Then the disciples decided to open the tomb so that Thomas could say goodbye to the Mother of God. They rolled away the stone, but the tomb was empty ...

In bewilderment and excitement, the apostles sat down together for the evening meal. Traditionally, one seat at the table was free. The apostles left him for their Christ, who was invisibly present between them. The bread left at an unoccupied place was then broken between everyone as a gift and a blessing. So this time, they raised the bread to share it with the prayer "Lord Jesus Christ, help us!" The apostles looked up and saw the Most Pure Virgin Mary surrounded by many angels. The Mother of God greeted them and blessed them: "Rejoice! I am with you all the days!" The apostles exclaimed: "Most Holy Theotokos, help us!" They became the first witnesses that the Mother of God did not leave the world. "You have kept your virginity in Christmas, you have not left the Mother of God in the Assumption of the world ..." - the troparion reminds us - the chant of the feast of the Assumption.

"Portrait of a young man with a glove". 1520-1522. Canvas, oil. Louvre Museum, Paris.

Young Titian received an excellent artistic education. After a short study with the mosaicist Sebastiano Zucatti, he moved to the workshop of Giovanni Bellini, around which the best artistic forces of Venice rallied at that time. Together with Titian, Giorgione da Castelfranco and Sebastiano del Palmo worked in the workshop, who later introduced Rome to the coloristic discoveries of the Venetian school of painting. Titian was greatly influenced by Giorgione in the early period. This influence is felt in his painting stronger than borrowings from the style of the teacher, G. Bellini, a master who very gradually comprehended the problems of the High Renaissance. Giorgione, Titian's age, took shape as an artist extremely quickly. He is the first representative of the mature Renaissance in Venetian art. Titian organically mastered the system of expressive means of Giorgione, his understanding of harmony. It is not without reason that even now it is not easy to distinguish some of the canvases of both masters, and one of the first paintings by Titian, The Concert (1510s), has long been attributed to Giorgione. After his death, Titian, by the way, finished his famous "Sleeping Venus" by painting a landscape background.

“Earthly and Heavenly Love”. 1514. Oil on canvas. Borghese Gallery, Rome.

However, an attentive eye can distinguish features characteristic only of Titian in the works of this early period. This is, first of all, the great inner activity of the heroes, the psychological saturation of the images, which manifested itself even in such a contemplative portrait as "Portrait of a Young Man with a Glove" (between 1515 and 1520). Gradually, Titian develops his own style, which has absorbed all the best features of his predecessors: richness of color, harmony of the physical and spiritual principles, embodied in the images of heroes. These features were fully manifested already in the canvas "Earthly and Heavenly Love" (1510s), in which the figures of two women reveal different aspects of a triumphant feeling. These figures are not so much opposed to each other, as it was in the literary source of the plot, the poem by Marsilio Ficino, as they complement one another. In this work, Titian demonstrates his already mature coloristic talent. Golden rich tones in the image of the human body will now forever remain in his palette.
The huge canvas "The Ascension of Mary" ("Assunta"), made by Titian in 1518 for the Church of Santa Maria Gloriosa de Frari, is distinguished by the powerful dynamics of composition, the dynamics of revealing the state of mind of a person.

"The Ascension of Our Lady" ("Assunta"). 1516-1518. Oil on wood. C. Santa Maria Gloriosa dei Frari, Venice.

The viewer immediately notices the figure of Mary in bright red robes, who slowly, smoothly and confidently rises into the air. People at the bottom of the composition, as if spellbound, follow its movement. Oddly enough, but this fantastic flight creates the impression of absolutely real, the central figure is so materially written. There is nothing of mysticism, exalted knowledge, miracle. Young Titian often depicts figures in a broad, but internally clearly organized and measured movement. The canvas "Bacchus and Ariadne" (1523) is indicative in this respect. Bacchus quickly and easily descends from the chariot to meet the girl. His figure is not only compositional, but also the dynamic center of the picture. In the group of companions of the young god, in the figure of Ariadne herself, this light, natural, but at the same time exquisitely danceable movement seems to vary, developing and enriching.

Bacchus and Ariadne. 1520-1522. Canvas, oil. National Gallery, London

Titian tries his hand at different painting genres, easily assimilating a variety of artistic formats. He paints large altar pieces. In addition to the already mentioned "Assunta", one of the most decorative works of the early period can be called, the composition "Madonna of the Pesaro Family" (1519-1526) for the same church dei Frari. He organizes the composition on the juxtaposition of a diagonally located group of characters, whose rhythmic axes in a wide spiral go from the foreground into depth, and powerful vertical columns. Such compositional schemes will find further development in the art of the 17th century, in Baroque painting, in particular in the work of Rubens, who in general very carefully studied the heritage of the great Venetian.

"Madonna with Saints and Members of the Pesaro Family". 1519-1526. c. Santa Maria Gloriosa dei Frari, Venice.

And next to the representative solemn canvases in the same years, the artist paints small paintings in which the conflict is revealed through the contrast of the characters of two or three characters. The Denarius of Caesar (1515-1520) is a classic example of such works. Dramaticism arises from the comparison of the enlightened image of Christ with the ugly figure of the Pharisee. In a very laconic form, this canvas tells about the eternal struggle between good and evil. The plot of the Gospel parable is translated into a plan of reflections on the nature of man, on his dignity.

"Denarius of Caesar". 1516. Oil on wood. Dresden Picture Gallery.

In the 1530s. Titian's work is enriched with new shades. The images of the heroes acquire more specificity, sometimes unobtrusively interpreted genre motifs appear in his compositions. The painting “Venus of Urbino” (1538) uses the graphic motif of “Sleeping Venus” by Giorgione. But how much more realistic Titian interprets his model. In the image of the ancient goddess, the Venetian is immediately recognized in the interior of the 16th century. The mythological coloring does not deprive the image of the concreteness of life.

"Venus of Urbinskaya". About 1538. Canvas, oil. Uffizi Gallery, Florence.

Most of the painting "Introduction to the Temple" (1534-1538) is occupied by the image of a crowd watching little Mary ascending the high steps to the temple. Among those present there are important patricians and people from the people: a woman with a baby in her arms, an old merchant near the steps. These images bring an element of democracy to the sublime structure of Titian's paintings.

"Introduction to the Temple." 1534-1538. Canvas, oil. Accademia Gallery, Venice.

Titian (1488 / 1490-1576) was called “King of painters and painter of kings” during his lifetime. One of the four titans of the Renaissance, he was born over 500! years ago, in about 1477 and lived for almost ninety years - an incredible time for a time when the average life expectancy was only 35 years. Throughout his adult life, the master has created masterpieces, because his legacy is so extensive.

"Penitent Mary Magdalene" Titian. Around 1565. Hermitage (St. Petersburg)

Titian's contemporary, Giorgio Vasari, wrote that “ there was no such eminent person and noble lady who would not have been touched by his brush. And in this sense there was, is not and will not be equal to him among artists". There were many of them, noble persons, and Titian was alone. In the 16th century, it was believed that being captured by Titian's brush meant becoming immortal. And so it happened.

Allegory of Prudence (mid-1560s) Titian. Titian portrayed not only himself, but also his son and nephew. Their portraits represent one with the heads of three animals: a royal lion, a faithful dog and a lone wolf. In symbolism, this beast with three heads just meant Prudence. It consisted of three significant things: memory, knowledge and experience. London National Gallery

He was ordered by European kings, popes, dukes, cardinals, princes. Titian was not even thirty years old when he was recognized as the best among the artists of Venice!

• • Titian was born into a family of a prominent politician near Venice. The exact date of birth is unknown. The father, discerning the talent of his son, sent him to study mosaic art and painting in Venice
  • The artist became the founder and a master of psychological portrait, reflecting not just the appearance of the customer, but his character and soul

    “Portrait of a Young Woman” by Titian. Around 1536. Hermitage (St. Petersburg)

  • Titian earned fame color masters, achieving on their canvases a huge number of shades, halftones and transition zones. This is what became one of the secrets of his skill.
  • Many influential figures of that time tried to order him their portrait, including cardinals, popes and monarchs.
  • The artist developed a new way and manner of painting, applying oil paints to the canvas with a brush, spatula, or simply with his finger. Previously, paintings were not painted on canvas. Before him, frescoes or paintings were traditionally painted on boards, like Russian icons, but Venice had a humid climate and frescoes, paintings on boards were not durable. We see Titian's innovation everywhere - for more than 500 years the main method of painting has been canvas and oil paints.

    "Madonna and Child in a Niche" Titian. The Pushkin State Museum of Fine Arts (Moscow)

  • The Spanish and French kings invited Titian to their place, to settle at the court, but the artist, having completed the orders, always returned to his native Venice
  • When Titian was painting a portrait of the Holy Roman Emperor Charles V, he accidentally dropped his brush, and the emperor did not disdain to get up and hand it to the artist, said: “ Serving Titian is an honor even for the emperor »
  • Emperor Charles V surrounded his beloved artist with honor and respect and said more than once: “ I can create a duke, but where will I get the second Titian »
  • Titian did not like to portray thin women, he loved stateliness and portly beauty. His beauties often wear reddish-golden hair.

    "Self-portrait" 1567. Prado Museum (Madrid)

  • Art critics note that the late Titian was distinguished by some kind of incompleteness, almost negligence. Once he was commissioned to paint The Annunciation. After completing the work, the painter signed it with the words in Latin: "Titian did it." However, it seemed to the customers that the picture was not finished, and they demanded "to bring it to mind." The proud Venetian added another word in the signature, as a result of which the phrase appeared in the picture: "Titian did, did."In the original, in Latin it looked like this: "Titianus fecit fecit"
  • Titian practically did not get sick and until the last days he did not stop working. The artist died of the plague in Venice, infected by his son
  • His last work was Lamentation of Christ, which Titian wrote for his own tombstonefeeling the closeness of death

    Santa Maria Gloriosa dei Frari (Venice), where Titian is buried

  • Having lived for almost 90 years, the artist retained his clarity of mind, visual acuity and firmness of his hand to the end. On the day of his death (at this time the plague was raging in Venice), he completed the painting "Lamentation of Christ", signing it with a firm hand "Titian did". It is said that on this day he ordered to set the table for many people, but he was alone. He seemed to say goodbye to the shadows of his teachers and friends, who had not been in the world for a long time : Giovanni Bellini and Giorgione, Michelangelo and Raphael, Emperor Charles V. He said goodbye to them, but did not have time to start the last meal himself. They found him lying on the floor with a brush in his hand.
  • Contrary to the laws that prescribed the burning of the bodies of those who died from the plague, Titian was buried in the Venetian Cathedral of Santa Maria Gloriosa dei Frari (translated into Russian: St. Mary of the Word or the Assumption of the Virgin Mary). On the grave of the painter there is a grandiose monument and the words are carved: « Here lies the great Titian Vecelli - rival of Zeus and Apelles»

Monument to Titian in the Church of Santa Maria Gloriosa dei Frari (Venice)

• • In the church where Titian is buried is his greatest masterpiece: the altarpiece "Assumption of the Virgin (Assunta)". Titian himself wanted his own Lamentation of Christ to hang over his grave (now in the Accademia Gallery (Venice). 200 years after Titian's death, a Baroque monument made of Carrara marble was commissioned by the Austrian Emperor Ferdinand I. In the center of the monument is a statue of Titian, to his left is Nature, to the right is Knowledge.Figures near the columns: to the left of Titian - Painting and Sculpture, to the right - Graphics and Architecture.Two sculptures of the emperors are located below: on the left, Ferdinand I of Austria and on the right, the Emperor of the Holy Roman Empire Charles V. The bas-reliefs of the monument remind of Titian's masterpieces. Behind Titian himself, his most important masterpiece is "Assumption of the Virgin (Assunta)", which is in the same cathedral.
    Gigantic canvas "Assumption of the Virgin or Assunta" by Titian 1516-1518 Cathedral of Santa Maria Gloriosa dei Frari (Venice)

    To the left of the artist is his "Martyrdom of St. Peter", located in Verona, to the right, "The Martyrdom of St. Lawrence", located in the Church of Gesuiti in Venice. On the top right is the bas-relief "Meeting of Mary and Elizabeth", on the top left - "Descent from the Cross". At the top of the monument - the symbol of Venice - the lion of St. Mark with the coat of arms of the House of Habsburg

    "Assumption of the Virgin or Assunta" by Titian 1516-1518 in the interior of the Cathedral of Santa Maria Gloriosa dei Frari (Venice)

  • A crater on Mercury is named after Titian
  • One of the shades of red hair is named after Titian, who depicted him in many portraits of women.
  • Titian's "Venus of Urbinska" inspired Edouard Manet to create his famous "Olympia"
  • In the Hermitage there is a whole hall of Titian's masterpieces... It is located in a building called the Big (or Old) Hermitage. Hall 221
  • In the Pushkin State Museum of Fine Arts (Moscow) two paintings by Titian are on display in the permanent exhibition: hall 7 of the main building of the museum on Volkhonka, 1st floor

Recently, another painting by Titian has appeared in the collections of Russia. "Venus and Adonis", the author's copy of Titian's brush from the world-famous painting on the same theme from the Prado Museum in Spain, belongs to the Russian charity fund "Classic". This work of the great master was opened by the chief researcher of the Pushkin State Museum of Fine Arts, Doctor of Art History Victoria Markova.

"Venus and Adonis" by Titian on the insert "Venice of the Renaissance: Titian, Tintoretto, Veronese" at the Pushkin Museum of Fine Arts - summer 2017

Previously, it was considered a painting painted by the artist of the circle of Titian, and it was in this capacity that it was acquired by the Classic Foundation. The picture was first shown to the Russian audience at exhibition “Venice of the Renaissance. Titian, Tintoretto, Veronese"In the Pushkin State Museum of Fine Arts in the summer of 2017

The Italian painter Titian Vecellio da Cadore made a huge contribution to world art. Recognized as the best painter in Venice, even when he was not thirty years old. Placed on a par with such artists as Raphael, Leonardo da Vinci, Michelangelo. Mostly the plot of his paintings were biblical and mythological themes, but he was also famous as a portrait painter.

With his famous painting "The Ascension of the Virgin", Titian begins a new stage in his work. The beginning of the picture was the victorious end of the war with the German emperor, who seized all the possessions of Venice. And the day of its foundation is the day of the Annunciation of Mary. It was with this atmosphere of triumph and triumph that Titian imbued his work.

The picture has three levels. On the first, we see the apostles. They are no different from humans. They crowd, pull their hands up, fall to their knees, pray. They have a large cloud over their heads, on which the Mother of God stands. She is accompanied by many little angels. She stretches out her hands to God, who is above her head in the presence of angels. The upper part of the painting is illuminated with a golden bright light. Present in the picture and red tones. Mary's dress, covered with a blue cape, and some of the robes of the apostles. The whole picture is bright, emotional and mesmerizing.

When the new altarpiece of Santa Maria Gloriosa dei Frari was restored, everyone was simply delighted with the huge canvas perfectly arranged in the interior of the temple. This was the commemoration of a real revolution in the art of Venice.