venus with a mirror

was already also of exceptional interest in revealing the double portrait underlying the Venus composition (see Technical Summary). Jodi Cranston has argued that the broad handling at the right was intentional, and was part of the painter’s expressive purpose, but did not note any difference between the left and the right sides. Sylvia Ferino-Pagden (Venice, 2008), 57. Both his, and yours a like event await: It is also possible, as suggested by Harold Wethey, that the painter knew some antique gem, bronze, or terracotta representing Venus at her toilet,[26]  [26]Harold Wethey, The Paintings of Titian (London, 1975), 3:69. 11:00 a.m. to 4:00 p.m. daily, East Building Now that it is clear that Rubens’s copy records a lost picture that was earlier, not later, the evolution of the design becomes more comprehensible, from one to two cupids, and from Venus dressed in a chemise to Venus naked to the waist. [28]  [28]See John B. Friedman, “L’iconographie de Vénus et de son miroir à la fin du moyen âge,” in L’érotisme au moyen âge: Études présentées au troisième colloque de l’Institut d’études médiévales, ed. Not your proud image only should you see, Venus with a Mirror Titian c. 1555 National Gallery. If, indeed, an assistant was largely responsible for completing the right side of the composition, it cannot be excluded that this was done contemporaneously with Titian’s work on the left side. L-27. The Sculpture Garden is now open from 11:00 a.m. to 4:00 p.m. daily. In all these works, although Titian’s handling of paint has become much looser than in his earlier career, selected details, such as jewelry, remain relatively precise, and in some passages the brushwork continues to evoke the specific textures of velvet, fur, metal, and, especially, flesh. Unhappy exile! The painting, which is preserved in generally fair visual condition, was treated in 2011 to remove discolored varnish and retouching; beyond repair, however, is the badly damaged left hand of the foremost cupid. In this connection it may further be noted that the original shape and position of the cupid’s wing revealed by the infrared reflectogram at 1.5 to 1.8 microns corresponds closely to those recorded in Rubens’s copy. 119. Bruno Roy (Montreal, 1977), 53–82; Jodi Cranston, The Muddied Mirror: Materiality and Figuration in Titian’s Later Paintings (University Park, PA, 2010), 25, with references. Elise Goodman-Soellner, “A Poetic Interpretation of the ‘Lady at Her Toilette’ Theme in Sixteenth-Century Painting,” Sixteenth Century Journal 14 (1983): 434, 440–441. Wolfgang Braunfels, “I quadri di Tiziano nello studio a Biri Grande (1530–1576),” in Tiziano e Venezia: Convegno internazionale di studi (1976) (Vicenza, 1980), 409. . Venus gazes into a mirror held by Cupid, who is without his usual bow and arrows. . 3] Workshop of Titian, Venus with Two Cupids in front of a Mirror, 1560s, oil on canvas, The State Hermitage Museum, Saint Petersburg. [2]  [2]Infrared reflectography was performed using a Santa Barbara Focalplane InSb camera fitted with an H astronomy filter. The most common venus with a mirror material is metal. Goffen also referred to the relevance of the paragone debate for the interpretation of the two pictures, and on the use of mirrors by a number of other 16th-century Venetian painters, including Giorgione and Savoldo, to demonstrate that the art of painting could rival that of sculpture in its ability to show the human figure from more than one angle. Artemieva’s argument is weakened, however, by the evidence that the Gallery’s picture is an elaboration of a composition devised some years earlier for the emperor (or at least, for Prince Philip) and by the probability that the right side was painted by an assistant. The following 18 files are in this category, out of 18 total. John Nott]. As suggested above, however, the execution of the right side is decidedly weaker, and the anatomy of the foremost cupid is poorly articulated, so that his left wing is too planar and (unlike the other wing) awkwardly sprouts from his shoulder, instead of from his shoulder blade. 6th St and Constitution Ave NW [17]  [17]See Harold Wethey, The Paintings of Titian (London, 1975), 3:70, 243–245, cat. The passage from Imagines 1.6 was previously used by Titian as a source for his Worship of Venus of 1518–1519 for Alfonso d’Este (Prado, Madrid). Many scholars have commented on the fascination that the Venus with a Mirror, together with its many variants, has held for subsequent painters, from Titian’s compatriot Veronese, to leading European artists of the 17th century. See Gustavo Traversari, La statuaria ellenistica al Museo Archeologico di Venezia (Rome, 1986), 52–56. See also Brigitte Klesse, Katalog der italienischen, französischen and spanischen Gemälde bis 1800 im Wallraf-Richartz-Museum (Cologne, 1973), 131–135; Harold Wethey, The Paintings of Titian (London, 1975), 3:201–202, cat. 4] Anthony van Dyck, after Titian, Leaf from Italian Sketchbook, with Venus with a Mirror, 1622/1623, brush drawing in brown wash, touched with pen and brown ink, The British Museum, London. She adheres closely to the canon of female beauty extolled by Renaissance poets: blond hair, fair skin flushed with pink, red lips and arched brows. This interpretation was partly dependent, however, on the probably mistaken assumption that the male figure, like that in the Louvre picture, was wearing armor, and there may have been no allegorical content. The green drape in the upper left corner, presumably painted in copper resinate, has also browned, while the blue drape held by the cupid has similarly discolored. Like the Gallery’s picture, it showed Venus in the Pudica pose, nude to the waist, with two cupids standing on her couch; but unlike in the present work, both the cupids supported the mirror, while the more prominent one turned his head toward the spectator. . Nabahat Avcioglu and Allison Sherman (Farnham and Burlington, VT, 2014), 221–232. [29]  [29]Elise Goodman-Soellner, “A Poetic Interpretation of the ‘Lady at Her Toilette’ Theme in Sixteenth-Century Painting,” Sixteenth Century Journal 14 (1983): 434, 440–441. ), Titian at the same time, he argued that two other versions, now lost, are also likely to have been autograph. During the last 20 years of his life, Titian's handling of paint grew looser, opening up a wider gamut of expressive possibilities. See John B. Friedman, “L’iconographie de Vénus et de son miroir à la fin du moyen âge,” in L’érotisme au moyen âge: Études présentées au troisième colloque de l’Institut d’études médiévales, ed. Having formulated these revisions in the Washington picture, the painter then evidently used it as the basis for all the many other variants of the composition. West Building It appears the support was prepared with a thin ground, though it is difficult to characterize, due to the underlying portrait. Did he envy, like contemporary poets, the mirror’s embrace of her face? Viewers don't typically notice the Venus effect unless it is pointed out. Irving Lavin and John Plummer (New York, 1977), 70; Francesco Valcanover, in Le siècle de Titien: L’Âge d’Or de la peinture à Venise (Paris, 1993), 534–535; Petra Schäpers, Die junge Frau bei der Toilette: Ein Bildthema im venezianischen Cinquecento (Frankfurt, 1997), 111–124; Diane H. Bodart, “Le reflet et l’éclat: Jeux de l’envers dans la peinture vénitienne du XVIe siècle,” in Titien, Tintoret, Véronèse: Rivalités à Venise (Paris, 2009), 216–259. In this version (unlike the completely nude Medici Venus), the figure similarly holds a drapery around her hips. But Titian's mind was still seething with ideas; they came so fast that he used the canvas of Venus with a Mirror Such clever reuse is a measure of Titian’s inventive genius and could only occur as he was first creating the new composition. 52. The cupid with the garland may also be compared with that in the Venus and Cupid with a Partridge (Uffizi, Florence), likewise datable to the 1560s. The purpose is often to give the audience the sensation of looking in the mirror. Becoming self-enamour’d, to my cost. Yet there is no mention of such a work in any of the ample correspondence between the painter and the prince, whereas Titian is known to have painted a Venus for his father, the emperor Charles V, in 1544–1545, and to have brought it with him to the imperial diet at Augsburg in 1548. This is the original, which remained in … Titian - Venus with a Mirror. Letter of Dec. 2, 1567, in Matteo Mancini, Maria Kusche, “La antigua galería de retratos de El Pardo: Su reconstrucción pitórica,”, See John B. Friedman, “L’iconographie de Vénus et de son miroir à la fin du moyen âge,” in, Elise Goodman-Soellner, “A Poetic Interpretation of the ‘Lady at Her Toilette’ Theme in Sixteenth-Century Painting,”, As pointed out by Irina Artemieva, “Die Venus vor dem Spiegel Barbarigo und der Dialogo della Pittura von Lodovico Dolce,” in, Jan Bialostocki, “Man and Mirror in Painting: Reality and Transience,” in, Irina Artemieva, “Die Venus vor dem Spiegel Barbarigo und der Dialogo della Pittura von Lodovico Dolce,” in. I).2 This picture was painted about 1555, nearly four decades after the artist's association with the aged Bellini and the revision of Bellini's painting. [36]  [36]See, for example, Gustav F. Hartlaub, Zauber des Spiegels: Geschichte und Bedeutung des Spiegels in der Kunst (Munich, 1951), 79–80, 107–108; Jan Bialostocki, “Man and Mirror in Painting: Reality and Transience,” in Studies in Late Medieval and Renaissance Painting in Honor of Millard Meiss, ed. Oil on canvas, 122.5 x 177 cm. Export from an object page includes entry, notes, images, and all menu items except overview and related contents. Web Feature Venus with a Mirror was certainly one of Titian’s most popular compositions. which the owner had inherited with other pictures by Titian from his grandfather of the same name; and it is often assumed that this is the picture copied by Van Dyck, on his visit to the city in the autumn of 1622. [4] Eremitage Impérial: Catalogue de la Galerie des Tableaux, Saint Petersburg, 1863: 26, no. He took from Bellini a typically Venetian approach to color, his early works often juxtaposing brilliant contrasting hues. Titian - Venus with a Mirror - Google Art ProjectFXD.jpg 4,168 × 5,000; 5.04 MB. framed: 162.6 x 200 x 8.6 cm (64 x 78 3/4 x 3 3/8 in.) Jodi Cranston, The Muddied Mirror: Materiality and Figuration in Titian’s Later Paintings (University Park, PA, 2010), 38–39. My rival, in whose face you’re wont to view A deep layering of translucent red glazes—unreadable up close—resolves into the folds of dense velvet at a greater distance. Titian was a master in all genres: he produced dignified and insightful portraits, Madonnas of modesty and charm, playfully joyous mythological pictures, sensuous nudes, and meditative religious works. . Overview of Titian from the Metropolitan Museum of Art's Timeline of Art History, Image Download [5]  [5]Charles Hope, “Tizians Familie und die Zerstreuung seines Nachlasses,” in Der späte Tizian und die Sinnlichkeit der Malerei, ed. Giorgio Tagliaferro and Bernard Aikema, with Matteo Mancini and Andrew John, Charles Hope, “Tizians Familie und die Zerstreuung seines Nachlasses,” in, Wolfgang Braunfels, “I quadri di Tiziano nello studio a Biri Grande (1530–1576),” in, Stephan Poglayen-Neuwall, “Titian’s Pictures of the Toilet of Venus and Their Copies,”, [fig. © 2021 National Gallery of Art   Notices   Terms of Use   Privacy Policy, Peter Humfrey, “The Chronology of Titian’s Versions of the Venus with a Mirror and the Lost Venus for the Emperor Charles V,” in. Titian Venus Mirror (furs).jpg 3,331 × 3,994; 3.5 MB. Presented by The Art Fund, 1906 (NG2057). The cupid with the garland may also be compared with that in the Venus and Cupid with a Partridge (Uffizi, Florence), likewise datable to the 1560s. Perhaps the artist painted it on speculation, with an eye to selling it eventually to a suitable customer. Sylvia Ferino-Pagden (Vienna, 2007), 230. Titian died in 1576, as an outbreak of the plague roiled through Venice, but it is not known if he died of the disease. Alas! Titian was influenced not only by Bellini’s rich color but by the lyrically elusive pastoral and mythological scenes of fellow Bellini pupil Giorgione. 4] Anthony van Dyck, after Titian, Leaf from. Compels me from my home so sweet before; This early masterpiece has been the subject of a number of differing interpretations in recent art-historical literature; and although in this case the young woman at her toilet and in déshabille is clearly not intended to represent Venus, most writers have detected close thematic links between this picture and the Venus of 40 years later. It has often been observed that Titian could have seen one of the most celebrated antique examples of the Pudica type, the Medici Venus (Uffizi, Florence), on his visit to Rome in 1545–1546, but as pointed out by Francesco Valcanover, the painter would already have known a Hellenistic version then in the Grimani collection in Venice, and now in Venice’s Museo Archeologico. overall: 124.5 x 105.5 cm (49 x 41 9/16 in. (1599–1660). The West and East Buildings remain closed at this time. Titian - Venus with a Mirror - Google Art Project.jpg 13,246 × 15,890; 79.52 MB. Hope had already argued that the lost picture for Philip is likely to have preceded the Gallery’s version, on the grounds that Titian only sent original inventions to the king and that the x-radiographs of the Washington picture show that Titian started by showing Venus in a chemise and with bare legs, as in the Philip II version, but then introduced alterations. It remains a matter of debate why Titian should have retained a high-quality picture such as the Venus in his own possession for 20 years after it was painted. “Venus with a mirror” – one of the best works of the Italian artist: Tiziano Vecellio creates a gallery of beautiful paintings, glorifying the sensuality and charm of female beauty. Irving Lavin and John Plummer (New York, 1977), 70; Julius Held, “Rubens and Titian,” in Titian: His World and His Legacy, ed. Christiaan Hart Nibbrig, Spiegelschrift: Spekulationen über Malerei und Literatur (Frankfurt, 1987), 18; Petra Schäpers, Die junge Frau bei der Toilette: Ein Bildthema im venezianischen Cinquecento (Frankfurt, 1997), 111–124. Charles Hope, Titian (London, 1980), 160. Peter Humfrey, “The Chronology of Titian’s Versions of the Venus with a Mirror and the Lost Venus for the Emperor Charles V,” in Artistic Practices and Cultural Transfer in Early Modern Italy: Essays in Honour of Deborah Howard, ed. He was buried in Santa Maria Gloriosa dei Frari, where his dramatic altarpiece, The Assumption of the Virgin, had been installed nearly 60 years before. [2] The picture is recorded in the Palazzo Barbarigo by Carlo Ridolfi, Le maraviglie dell’arte, overo Le vite de gl'illustri pittori veneti, e dello stato, ed. Detlev von Hadeln, 2 vols., Berlin, 1914–1924 (originally Venice, 1648): 1(1914):200 (“Gli Signori Barbarighi di San Polo possiedono . Oh, mirror, I envy you only because of her... He rotated the canvas 90 degrees, and it appears that he left exposed the jacket of the male figure in the underlying composition to create the luxurious fur-lined red velvet that now wraps around Venus’s hip. merit gives no pow’r Perhaps. Detlev von Hadeln (Berlin, 1914), 1:194; Harold Wethey, The Paintings of Titian (London, 1975), 3:243, cat. 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