Archive for the ‘Research Paper’ Category

Madonna di Ca’ Pesaro

I took this photo because I wanted to show it in situ as the viewer approaches it, not as it is normally photographed, frontally and with out its architectural frame or setting. It is dark in the church; which has an electric light now, but would not have at the time this was placed in the Frari. This photograph gives you a better idea of the experience of the painting than a text book photograph does. I believe the columns and oblique Madonna make perfect sense when first viewed and approached from this position.

TITIAN’S ALTARPIECES: COLOR, INNOVATION, AND INVENTION

Titian was a master of painting and color; his influence on Western art is enormous and far reaching. Through careful examination of Titian’s altarpiece paintings, Assumption and Madonna di Ca’ Pesaro, it is possible to glimpse not only the unusual, yet inherently Venetian, way Titian approached painting, but also the decisions that led to the final artworks and to his unique contributions to Renaissance painting. Titian began his career as a painter in Renaissance Venice at a time when painting was in flux, oil and glaze were new, and altarpieces were a unique vehicle for artistic expression. He synthesized all that was happening around him and created expressively life-like paintings that took perspective, color, subject and composition all to a new level. “Throughout his long career, Titian respected tradition. Never can we think of him as an avant-garde artist…yet while his work always depended on the past, he subtly transformed what he took into something new.” [1] Although Titian did honor painting’s past, it is difficult not to believe that he was ahead of his time. His work influenced the history of Western art for centuries to come; his influence continues today.

This paper will briefly outline the history of altarpieces in Venice, the progression of naturalism in those paintings, some of the people and events influencing Titian, and finally it will examine the innovative ways in which Titian approached his masterpieces and made his mark on painting. With the Assumption, created for the high altar in the Basilica di Santa Maria Gloriosa dei Frari, Titian is credited, by Marino Sanuto, a Venetian historian and diarist and contemporary of Titian, with establishing the High Renaissance in Venice. [2] Likewise the Madonna di Ca’ Pesaro exceeded the expectations of his time. Many of the elements destined to become hallmarks of this master of Renaissance painting are exemplified in this unprecedented altarpiece. Read the rest of this entry »

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