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Again with Titian, another Venetian
colorist painter of the 16th century, we see the sensuousness
of Giorgione, who died rather early, leaving the tradition to
Titian, who would dominate Venetian painting for the next 50
years. Above, is Titian's Venus of Urbino (c. 1538), painted
for the Duke of Urbino, a personal friend. There are a couple
of extremely important thing going on here: First, we
see Venus........but not at all the same Venus we saw in Botticelli's
painting. This Venus is way sensuous as she reclines on
the soft pillows and the rich fabric. She is the same Venus as
we saw in ancient times.......even the same Venus we saw 25,000
years ago in Willendorf. She is a symbol of the voluptuousness
of mother nature and all the worldly pleasures available to mankind.
So now, near the middle of the 16th century, we have some competition
for the saints, martyrs and madonnas (although Titian could paint
madonnas as sensuously as the Venus above, only fully clothed,
of course). The second important thing going on here (although
it's impossible to tell from a computer screen) is that Titian
sets into practice the use of oil on canvas as the preferred
painting medium, rather than panel or fresco painting. The light
and color possibilities are greatly enhanced with this new medium,
very much to the Venetians' liking. |
