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Scuola Grande di San Rocco (Venice). Also attributed to Giorgione. [1] Madonna and Child (Bache Madonna) c. 1508: 45 × 55 cm: Metropolitan Museum of Art (New York) Flight into Egypt: c. 1508 206 × 336 cm Hermitage Museum (Saint Petersburg) Christ and the Adulteress: c. 1508–1510: 139.3 × 181.7 cm Kelvingrove Art Gallery and Museum (Glasgow)
The painting portrays an idealized beautiful woman, a model established in the Venetian school by Titian's master Giorgione with his Laura.She holds an oval mirror with a frame, which reflects some jewels and a maid who is searching in a case.
The painting is a development of Titian's compositions with a reclining female nude in the Venetian style. After Giorgione 's death in 1510, Titian completed his Dresden Venus , which began the tradition, and around 1534 painted the Venus of Urbino . [ 12 ]
Lucretia and her Husband Lucius Tarquinius Collatinus or Tarquin and Lucretia is an oil painting attributed to Titian, dated to around 1515 and now in the Kunsthistorisches Museum in Vienna. The attribution to this artist is traditional but uncertain - the brightened palette suggests it could instead be by Palma Vecchio .
The whole collection of art treasures from Santo Spirito was transported to the Church of the Salute in the seventeenth century, where they remain today. [ 3 ] [ 4 ] In the ceiling of the sacristy of the Salute, above the altar, are three creations of this period ( c. 1543–1544 ): Cain and Abel , Abraham and Isaac , and David and Goliath .
Depending on his unknown birthdate (see above), he was somewhere from his late eighties or even close to 100. Titian was interred in the Frari (Basilica di Santa Maria Gloriosa dei Frari), as first intended, and his Pietà was finished by Palma il Giovane. He lies near his own famous painting, the Madonna di Ca' Pesaro. No memorial marked his ...
Titian had to execute two or three large pictures, which should represent Tantalus, [a] Sisyphus and Tityus. [ b ] Two of them were painted in the first half of 1549; for they already adorned the Great Hall of the Summer Palace of Binche , for which the Queen evidently had destined them, in the August of the same year when Philip was her guest ...
In the Frari the painting was intended to hang in the Cappella di Crocefisso ("Chapel of the Crucifix"), where Titian was buried, and where his monument now stands. Like his much earlier masterpiece, the Pesaro Altarpiece , which was diagonally across the church, the painting was designed to be viewed in passing by people moving through the ...