Étiqueté : Titien

Exposition : “Hieronymus Bosch e l’Europa meridionale”, Milan, Palazzo Reale, 9 novembre-12 mars 2023

Il progetto, frutto di una lunga e approfondita ricerca accademica, intende illustrare il successo di Bosch quale creatore di visioni fantastiche in relazione alle tendenze del collezionismo del tempo e della ricezione artistica da parte del Rinascimento spagnolo e italiano. Legami importanti con l’arte di Bosch si possono infatti cogliere in opere di primissimo piano, tra gli altri, di Tiziano, El Greco, Savoldo. La mostra offrirà dunque per la prima volta al pubblico italiano ed...

Exposition : “Titian’s Christ with the Globe in a New Light”, Vienne, Kunsthistorisches Museum, jusqu’au 16 octobre 2022

The Salvator Mundi in Vienna – Titian’s Christ with the Globe in a New Light Point of View #25 presents a religious painting from the Titian holdings of the Kunsthistorisches Museum that until recently received little attention from researchers: Christ with the Globe ‒ also known as Salvator Mundi (»Redeemer of the World«). For a long time it was considered a workshop work, but recently the master’s share has been increasingly discussed. Titian (c. 1488‒1576), famous as one...

Conférence : Thomas Dalla Costa, “Tiziano e la pala d’altare dall’Assunta alla Pietà”, Vinigo di Cadore, le 30 juillet à 18h

THOMAS DALLA COSTA Tiziano e la pala d’altare dall’Assunta alla Pietà: una rivoluzione inascoltata? Sabato 30 luglio ore 18.00 Chiesa di San Giovanni Battista – Vinigo di Cadore In una recente pubblicazione, Tom Nichols si è spinto a teorizzare che Tiziano fu sì capace di emanciparsi dalla tradizione figurativa belliniana, innovandola radicalmente, ma che rimase inascoltato tra i suoi pari, che sostanzialmente non lo seguirono. Ciò sarebbe chiaramente dimostrato dal fatto che in alcuni generi...

Parution : Daniel M. Unger, « Titian’s Allegory of Marriage. New Approaches », Amsterdam, Amsterdam University Press, 2022

This book offers nine new approaches toward a single work of art, Titian’s Allegory of Marriage or Allegory of Alfonso d’Avalos, dated to 1530/5. In earlier references, the painting was named simply Allegory, alluding to its enigmatic nature. The work follows in a tradition of such ambiguous Venetian paintings as Giovanni Bellini’s Sacred Allegory and Giorgione’s Tempest. Throughout the years, Titian’s Allegory has engendered a range of diverse interpretations. Art historians such as Hans Tietze,...

Parution : Sara van Dijk, “Remember Me: Renaissance Portraits”, Rotterdam, NAI010 publishers, 2022

  How Renaissance Old Masters expanded the terms and vocabulary of portraiture In the Renaissance, artists across Europe produced lifelike portraits with new virtuoso realism and exactitude, immortalizing not only kings and noblemen but, increasingly, bankers, merchants and scholars. These paintings, busts, prints and drawings still bear witness to the power, status, ambitions, friendships and religious convictions of their subjects. Whether they are lovers, celebrities or religious devotees, the people portrayed here implore the onlookers...

Parution : Sylvia Ferino-Pagden, “Titian’s Vision of Women”, Skira, Lausanne, 2022

How the culture of Renaissance Venice shaped Titian’s timeless paintings of women A new ideal of feminine beauty arose in 16th-century Venice, as women acquired new rights of inheritance and more social power. As a result, through the writings of poets and humanists, the construction of the desired, beloved woman began to acquire civic significance. The crucial impetus for the visual realization of this ideal came from Venice’s greatest artist: Titian. For him, artistic beauty...

Conférence : Giovanni Carlo Federico Villa, “Otto artisti per un rinascimento. Venezia e l’invenzione della modernità”, Turin, Palazzo Madama, 25 février au 16 juin 2022

  Dal 17 marzo 2022, nella Sala Feste, prende avvio un ciclo di conferenze con Giovanni Carlo Federico Villa, direttore di Palazzo Madama. “Venezia è la città più gloriosa che io abbia mai visto, ed è la più saggiamente governata”, scriveva l’ambasciatore Philippe de Commynes nel 1494. E sono i protagonisti veneti della rivoluzione pittorica a indicare il ruolo cardine di Venezia per il rinnovamento della cultura italiana ed europea. Se quando si tratta di Rinascimento lo...

Colloque : « The Politics and Erotics of Seeing, Titian and Beyond », Harvard University, 07-08 avril 2022

Visual Poetry: The Politics and Erotics of Seeing, Titian and Beyond Harvard University, Department of History of Art + Architecture Lower Level Lecture Hall; 485 Broadway, Cambridge, MA 02138 “…interim che metto al ordine le poesie…” “…while I work on the Poesie…” Poetry: this is how Titian referred to his mythological paintings in a now famous letter written from Venice in 1553 to his patron, Philip II. Titian’s use of the term speaks of the...

Séminaire du Collectif d’historiens de l’art de la Renaissance : Marion Beaufils, « Colpi di pennello » : formes haptiques et pathiques de la chair des femmes par Titien », Paris, Galerie Colbert/INHA, le 14 février 2022, 18h00

Le Collectif d’historiens de l’art de la Renaissance a le plaisir de vous inviter à la nouvelle séance de son séminaire de l’année universitaire 2021-2022 : Lundi 14 février 2022 – 18h-20h – Galerie Colbert/INHA, Paris Marion Beaufils (EHESS) « Colpi di pennello » : formes haptiques et pathiques de la chair des femmes par Titien   Séance modérée par Giovanni Careri (EHESS / Università Iuav di Venezia) La séance aura lieu en salle Vasari, Galerie Colbert/INHA, 2 rue Vivienne...

Conférence : Chriscinda Henry, « Pastoral Fellowship and the Performance of Virtuosity in Titian’s Concert Champêtre », en ligne, 3 février 2022, 17h30-18h30

This talk places Titian’s Concert Champêtre (ca. 1509–11) within the context of elite domestic leisure in early sixteenth-century Venice. In particular, it explores the combined role of sociable gathering, theatrical performance, music making, and art collection in the establishment of a new mode of self-fashioning and generational distinction on the part of young Venetian patricians and the virtuosi they patronized. In his book on the young Titian, Paul Joannides sensibly hypothesized that Titian’s painting registers the allusive portrait likenesses...

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