Why was titian important to the renaissance

History of painting

The history of painting reaches back in time to artifacts and artwork created by pre-historic artists, and spans all cultures. It represents a continuous, though periodically disrupted, tradition from Antiquity. Across cultures, continents, and millennia, the history of painting consists of an ongoing river of creativity that continues into the 21st century.[1] Until the early 20th century it relied primarily on representational, religious and classical motifs, after which time more purely abstract and conceptual approaches gained favor.

Developments in Eastern painting historically parallel those in Western painting, in general, a few centuries earlier.[2]African art, Jewish art, Islamic art, Indonesian art, Indian art,[3]Chinese art, and Japanese art[4] each had significant influence on Western art, and vice versa.[5]

Initially serving utilitarian purpose, followed by imperial, private, civic, and religious patronage, Eastern and Western painting later found audiences in the aristocracy and the middle

Venus and the Lute Player

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Title:Venus and the Lute Player

Artist:Titian (Italian, Pieve di Cadore ca. 1485/90?–1576 Venice) and Workshop

Date:ca. 1565–70

Medium:Oil on canvas

Dimensions:65 x 82 1/2 in. (165.1 x 209.6 cm)

Classification:Paintings

Credit Line:Munsey Fund, 1936

Object Number:36.29

The Artist: For a biography of Titian, see the Catalogue Entry for Venus and Adonis (49.7.16)

The Picture:Venus and the Lute Player was unfinished at the time of Titian's death. Although we do not know who its first owner was, it can now be traced from the seventeenth century on. It may be the "Venere nuda del titiano con cornice Bianca in forma grande che sta a giacere" (the nude Venus who is reclining, a large painting by Titian with a white frame) listed in a 1624 inventory of the collection of Cardinal Pio di Savoia (Testa 1994, pp. 95, 97 n. 30, p. 99, no. 74). It and a related composition, Venus and the Organ Player (Gemäldegalerie, Berlin), were seen in the cardinal's pa

Titian

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Tiziano Vecellio (Titian also used the forms Titiano, Tizian, Tician, Ticiano, Titianus and Ticianus in his signatures) came from Pieve di Cadore in the Dolomites, where his father was superintendent of the castle and supervisor of mines. His date of birth has long been controversial: there is documentary evidence to support a series of dates from 1473, but most recent opinion favours one close to 1490. According to Dolce (1557), he was sent to Venice at the age of nine with his brother Francesco to study painting, and was trained successively by the Zuccati (who were painters and mosaicists), Gentile Bellini, Giovanni Bellini and Giorgione. In 1508 he worked with Giorgione on the frescoes (only detached fragments of which survive) on the façade of the Fondaco dei Tedeschi, and he seems to have finished some of Giorgione’s pictures (such as the Dresden Venus) after Giorgione’s early death in 1510. Some pictures (such as the Fête Champêtre in the Louvre, the Concert in the Pitti and the Christ and the Adulteress in Glasgow) that wer

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