photo by Lucy Millson-Watkins/English Heritage
Titian’s Mistress, long regarded as a post-Titian imitation, turns out to be Titian’s painting, according to English Heritage conservator Alice Tate-Harte. From The Guardian:
It was a heart-stopping moment when the conservator Alice Tate-Harte gently cleaned off centuries of thick black paint and grime and uncovered square Roman letters spelling out the name TITIANUS. The reputation of the bare-breasted young woman in the painting was instantly transformed: she has turned out to be a genuine work by one of the most revered masters of European painting, not a much later imitation of his style.
The painting of a woman half-wearing a sumptuous gold braid-trimmed silk and fur robe was known as Titian’s Mistress but was believed to have been painted long after his death in 1576. It has been hiding in public view for centuries. Now cleaned of layers of overpainting covering up historic damage, including the time when it was slung into a chest of booty looted from the Spanish royal collection, it will go on display this summer for the first time as a genuine Titian at Apsley House, the palatial London home of the Duke of Wellington, now in the care of English Heritage.
Filed under: art, Titian
September 15, 2014 • 11:01 am
In a recent article in The American Scholar — “Carnival of the Animals” — Jan Morris joins Ruskin in admiring the menagerie of non-human creatures in Vittore Carpaccio’s paintings.
“I have counted in his pictures 20 species of animals and at least 11 sorts of birds,” writes Morris, “plus a winged lion, a basilisk, cherubs, peculiarly multi-antlered stags, and sundry angels.”
This reminded me of another Venetian painter and his love of nature: the great Tiziano Vecellio. I spent an ecstatic afternoon last month at the exhibition Titian and the Golden Age of Venetian Art at the Scottish National Gallery, which brought together Titian’s two Diana paintings as well as The Death of Actaeon — all part of his monumental mythological cycle of poesie canvases based on Ovid’s Metamorphoses, a vast commission by Philip II of Spain.
The detail above is from Diana and Actaeon (1556-59) and shows the goddess’s lap dog (a spaniel?) yelping at the male intruder who has unwittingly (so Ovid’s account goes) chanced upon the nude Diana and her nymphs as they are bathing in a spring.
Titian, Diana and Actaeon
Titian’s sequel painting narrates the denouement in which Diana curses the hapless Actaeon, causing him to be transformed into a stag and torn apart by his own hunting dogs. Given this context, the nearly comic effect of Diana’s little toy dog shown in a frenzy is all the more startling.
Titian, Death of Actaeon
Filed under: aesthetics, art, art history, Titian