All Titian Oil Paintings


 
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Titian This early portrait oil painting


This early portrait
Pintura identificación::  61109 		This early portrait
This early portrait (c. 1512) was long wrongly believed to be of Ariosto; it is more likely a self-portrait, and the composition was borrowed by Rembrandt for his own self-portraits.
   
   
     
Titian Salome, or Judith oil painting


Salome, or Judith
Pintura identificación::  61118 		Salome, or Judith
Salome, or Judith; this religious work also functions as an idealized portrait of a beauty, a genre developed by Titian, supposedly often using Venetian courtesans as models.
   
   
     
Titian It took Titian two years oil painting


It took Titian two years
Pintura identificación::  61120 		It took Titian two years
It took Titian two years (1516?C1518) to complete the oil painting Assunta, whose dynamic three-tier composition and color scheme established him as the preeminent painter north of Rome.
   
   
     
Titian Titian state portrait of Emperor Charles V at Mehlberg established a new genre, oil painting


Titian state portrait of Emperor Charles V at Mehlberg established a new genre,
Pintura identificación::  61135 		Titian state portrait of Emperor Charles V at Mehlberg established a new genre,
Titian's state portrait of Emperor Charles V at Mehlberg (1548) established a new genre, that of the grand equestrian portrait. The composition is steeped both in the Roman tradition of equestrian sculpture and in the medieval representations of an ideal Christian knight, but the weary figure and face have a subtlety few such representations attempt.
   
   
     
Titian Titian unmatched handling of color is exemplified by his Danae, oil painting


Titian unmatched handling of color is exemplified by his Danae,
Pintura identificación::  61136 		Titian unmatched handling of color is exemplified by his Danae,
Titian's unmatched handling of color is exemplified by his Danae, one of several mythological paintings, or "poesie" ("poems") as the painter called them, done for Philip II of Spain. Although Michelangelo adjudged this piece deficient from the point of view of drawing, Titian and his studio produced several versions for other patrons.
   
   
     
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