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Contemporary Interpretation of Three Paintings by Titian (Tiziano Vecellio, C

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Contemporary Interpretation of Three Paintings by Titian (Tiziano Vecellio, C UNIVERSITY OF CINCINNATI Date:__April 26, 2007___ I, ___Catherine L. Yellig___________________________________, hereby submit this work as part of the requirements for the degree of: Masters in: Art History It is entitled: Rethinking the Renaissance Courtesan: Contemporary Interpretation of Three Paintings by Titian (Tiziano Vecellio 1485 – 1576) This work and its defense approved by: Chair: ____Dr. Kristi Nelson__________ ____Dr. Diane Mankin___________ ____Dr. Kim Paice______________ _______________________________ _______________________________ Rethinking the Renaissance Courtesan: Contemporary Interpretation of Three Paintings by Titian (Tiziano Vecellio, c. 1485-1576) A thesis submitted to The Art History Faculty of the School of Art / College of Design, Architecture, Art and Planning University of Cincinnati In partial fulfillment of the requirements for the degree of Masters of Arts in Art History Catherine Lynne Yellig 2007 Thesis Committee Chair: Kristi Nelson, Ph. D. Reader: Diane Mainkin, Ph. D. Reader: Kim Paice, Ph. D. 2 Abstract This study examines three representations of female nudes by Tiziano Vecellio (Titian, 1485-1576). They include: the Venus of Urbino (1538, Uffizi Gallery, Florence, Italy), Venus with a Mirror (1553, National Gallery of Art, Washington DC), and Danae (1554, Museo del Prado, Madrid, Spain). I argue that by reading these three paintings and relating them to courtesans as we come to know them through words and images of the sixteenth-century, one can begin to see the establishment of the cortigiana onesta (honest courtesan) in relation to Titian’s painting. During the Renaissance a female’s identity was not defined by her own individuality, rather a woman was defined by the ideological power structures that governed sixteenth-century Venice. Prostitution was a means to an end, and women who practiced carnal commerce found themselves in a better position if they catered to the desires of the Urban Italian elite. In this study I will try to show how Titian translated the literary and poetic ideals of his contemporaries into painterly representations of the onesta model. 3 4 Acknowledgements The last few years have passed so quickly that it is hard to believe that it has been nearly three years since my journey at the University of Cincinnati began. Throughout my time at UC there have been a number of people who have made an impression on my education and I would like to thank them here. I would like to extend a most sincere thanks to Dr. Kristi Nelson for advising me on this topic and working with me throughout the process of writing. I am also most greatful to Dr. Diane Mankin, whom I graciously thank for mentoring me throughout the duration of my time as a student. Certainly outside the realm of school, there are a number of people to whom I am indebted as well. I would like to thank Jeni Eckman, Megan Emery, and Bree Lehmann for reading and correcting my papers. I would also like to thank my mother, Cheryl Ashworth, for taking my daily phone calls and listening to me read my papers. And lastly, but certainly not least, I would like to thank the man who has stood by my side since we were in the eighth grade together, Brad Minton. Thank you for all your generous help and comforting support for the last few years. 5 Contents List of Illustrations………………………………………………………………………….3 Introduction…………………………………………………………………………………5 Chapter One -- The Courtesan and Titian: An “Honest” Affair…………………..………12 Chapter Two -- Una donna ignuda: An Interpretation of Titian’s Venus of Urbino...........22 Chapter Three – Reflecting Ambiguity: A Brief Conversation on Titian’s Venus with a Mirror……………………………………………………..28 Chapter Four – The Onesta and Danaë: A Rendezvous of Ideological Currents…………34 Conclusion………………………………………………………………………………...43 Bibliography………………………………………………………………………………45 Illustrations…………………………………………………………………………..........50 6 List of Illustrations Figure 1. Titian, Venus of Urbino, 1538 2. Titian, Venus with a Mirror, 1553 3. Titian, Danaë, 1546 4. Marcantonio Raimondi, Position #7, 1524 5. Titian, Self-Portrait, c.1550-1562 6. Raphael, Pope Leo X, 1518 7. Titian, Portrait of Charles V, 1533 8. Titian, Phillip II, 9. Tintoretto, Jacopo Sansovino, 1560/70 10. Titian, Pietro Aretino, 1545 11. Tintoretto, Veronica Franco, 16th century 12. Giorgione, Sleeping Venus, 1501 13. Titian, Flora, 1515/20 14. Jacopo Palma the Elder, Flora 15. Titian, Venus with a Mirror, 1555 (detail 1) 16. Titian, Venus with a Mirror, 1555 (detail 2) 17. Titian, Venus with a Mirror, 1555 (detail 3) 18. Titian, Venus with a Mirror, 1555 (detail 4) 19. Titian, Venus with a Mirror, 1555 (detail 5) 20. Titian, Woman with a Mirror, 1512/15 21. Follower of Titian, Allegory of Vanity (Possibly Alfonso D’Este and Laura Dianti), date unknown 7 22. Titian, Danaë, 1554 23. Titian, Danaë, 1555 24. Jan Gossaert, Danaë, 1527 25. Tintoretto, Danaë, 1570 26. Hendrick Goltzius, Danaë, 1603 8 Introduction I stumbled across the topic of female courtesans while in the portrait seminar at the University of Cincinnati (spring 2006). After reviewing an article about a portrait of a supposed courtesan, I became fascinated by the lives of these women and representations of them in sixteenth-century art. Finding an individual representation of a courtesan who was definitively painted by a known artist proved incredibly difficult. Therefore, this study looks to the moment in history when courtesanry was at its zenith in Venice (1527-1600) and examines visual representations of three female nudes by Tiziano Vecellio (Titian, 1485-1576). They include: Venus of Urbino (1538, Uffizi Gallery, Florence, Italy [Fig. 1]), Venus with a Mirror (1553, National Gallery of Art, Washington, DC [Fig. 2]), and Danaë (1554, Museo del Prado, Madrid, Spain [Fig. 3]). I argue that by viewing these three paintings and relating them to courtesans as we come to know them through words and images of the sixteenth century, one can begin to see the establishment of the courtesan subject in relation to Titian’s painting. Language, letters, and images are the way we define everything, and as such are the fundamental things that connect the individual to the community. Studying these, one finds that the female subject’s role is not defined by her own individuality, but rather by the ideological power structures that governed sixteenth-century Venice. These structures dictated by the urban Italian elite through language expounded an ideal type called the cortigiana onesta. The onesta model became the type that “high class” prostitutes were expected to exemplify. In this study, I will try to show how Titian translated literary and poetic ideals of his contemporaries into painterly representations of the onesta model. Jacques Lacan, a follower of Sigmund Freud and a psychoanalyst who based his theory of the establishment of the subject on his profound understanding of linguistics once wrote, 9 “How could a psychoanalyst of today not realize that his realm of truth is in fact the word, when his whole experience must find in the word alone its instrument, its framework, its material, and even the static of its uncertainties?”1 Lacan suggested that language (the word) structures the consciousness and unconsciousness of the subject and theorized that subjects are defined by their entrance into language. The psychoanalytic experience he suggested is actually determined by the subject’s ability to interpret the signs and signifiers of language. In Lacan’s theory on the formation of identity, there are three developmental stages that define the subject’s entrance into the social order. They are the pre-linguistic, the mirror-stage, and the linguistic (symbolic) phase. This study suggests that each step corresponds to a visual representation of a female nude in three of Titian’s paintings. Each stage also becomes a basis for a chapter of my thesis. Imposing this model, I explore the possibility of whether this argument can be born out; to suggest to what extent these paintings can be seen within the work of Titian and within the broader history of onesta paintings. I relate Lacan’s theorizing of the modern subject to the historical moment in which our notion of the modern subject came to be. I chose Titian’s work for many reasons. The beauty and sensuality of his paintings made him highly sought after as an artist, both within Venice and throughout Europe. His style focused on the subjective beauty of colorito (color) as opposed to the rigidity of disegno (design) found in works by his contemporaries such as Michelangelo Buonarotti (1475-1564). Titian’s connection to the Scourge of Princes, Pietro Aretino, is also a reason. Aretino wrote on the courtesan extensively and was a notorious peddler of smut who maintained an influential position in Titian’s life throughout the whole of his career. Aretino wrote La Cortigiana and other comedies such as, Il Raggionamento dello Zoppino which satirize the profession of the 1 Jacques Lacan, “The Insistence of the Letter in the Unconscious,” in Yale University Studies, No. 36/37 (1996), 114. Lacan was a psychoanalyst and lifelong follower of Sigmund Freud, and based his theory of the development of the subject on a profound understanding of the subject’s relationship to language. 10 courtesan and give a rage glimpse into the lives of these women by claiming their own historicity.2 Some of the stories that he places in the narrative include situations that were typical of the trappings of the courtesan profession, including mothers who procured their daughters to ensure their economic futures, and women scorned as their bodies succumb to the dreaded syphilis. One of Aretino’s most infamous works was a collection of sonnets (Sonetti Lussuriosi) that accompanied the scandalous woodcuts of Marcantonio Raimondi (1480-1527), called i modi (the positions). The women depicted in the sixteen notorious prints were famous courtesans from Rome [Fig. 4].3 The woodcuts were based on a number of paintings by the artist Giulio Romano (1499-1546) who painted the frescoes for Cardinal Bibbiena of the Vatican.4 Around 1525, when the collection of woodcuts and sonnets made their way to the public it sent a shockwave through the city of Rome.
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