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Love Desire Death TITIAN LOVE DESIRE DEATH Matthias Wivel is Curator of Sixteenth-Century Titian (active about 1506; died 1576) produced a masterful group CONTENTS Catalogue Italian Paintings at the National Gallery, London. of paintings for Philip II of Spain, celebrating the loves of gods, Beverly Louise Brown is a Fellow of the Warburg Institute, London. goddesses and mortals. Depicting scenes from Ovid’s narrative 109 DANAË Jill Dunkerton is Senior Restorer at the poem Metamorphoses, Titian named them ‘poesie’ and considered Duke of Wellington Collection, National Gallery, London. the works as visual equivalents of poetry. This volume presents Apsley House, London Paul Hills is Professor Emeritus at The Courtauld a detailed study of the complete series – Danaë, Venus and Adonis, Matthias Wivel Institute of Art, London. Perseus and Andromeda, Diana and Actaeon, Diana and Callisto, Lelia Packer is Curator of Dutch, Italian, Spanish, and The Rape of Europa, as well as The Death of Actaeon – lavishly 123 VENUS AND ADONIS German and pre-1600 Paintings at the Wallace Collection, London. illustrated with details of these emotionally charged paintings. Museo Nacional del Prado, Madrid Javier Portús is Head of Spanish Painting (until The book explores Titian’s creative process and technique, 7 Joint Directors’ Foreword Matthias Wivel 1800) at the Museo Nacional del Prado, Madrid. in addition to his use of literary and visual sources and his 9 Acknowledgements Nathaniel Silver is the William and Lia Poorvu correspondence with Philip II. The artistic legacy of the series 133 PERSEUS AND ANDROMEDA Curator of the Collection at the Isabella Stewart Gardner Museum, Boston. for later European painting is also examined in the works The Wallace Collection, London Aidan Weston-Lewis is Chief Curator, European Art, of artists such as Rubens, Velázquez and Rembrandt. Offering Lelia Packer at the National Galleries of Scotland, Edinburgh. the most comprehensive overview of these remarkable works, Essays Titian: Love, Desire, Death is an indispensable resource for scholars 147 DIANA AND ACTAEON and admirers of Renaissance painting. 13 INTRODUCTION The National Gallery, London, and Matthias Wivel National Galleries of Scotland, Edinburgh Aidan Weston-Lewis 5 2 3 4 33 TITIAN’S TRANSFORMATIONS: MATTHIAS WIVEL MATTHIAS WIVEL LELIA PACKER AIDAN WESTON-LEWIS COLOUR AND EMOTION 157 DIANA AND CALLISTO IN THE POESIE The National Gallery, London, and Paul Hills National Galleries of Scotland, Edinburgh DIANA VENUS PERSEUS DIANA Matthias Wivel AND AND AND AND 45 ACQUIRING KNOWLEDGE CALLISTO ADONIS ANDROMEDA ACTAEON FROM ANCIENT THINGS: THE 169 THE RAPE OF EUROPA LITERARY AND VISUAL SOURCES Isabella Stewart Gardner Museum, Boston OF TITIAN’S POESIE Nathaniel Silver Beverly Louise Brown 181 THE DEATH OF ACTAEON THE NATIONAL GALLERY AND NATIONAL GALLERIES OF SCOTLAND MUSEO NACIONAL DEL PRADO THE WALLACE COLLECTION THE NATIONAL GALLERY AND NATIONAL GALLERIES OF SCOTLAND 61 MODES OF PAINTING: TITIAN’S The National Gallery, London TECHNIQUE IN THE POESIE Matthias Wivel Jill Dunkerton, Ana Gonzáles Mozo, 1 7 Gianfranco Pocobene and Marika Spring MATTHIAS WIVEL MATTHIAS WIVEL Painted several years after Perseus and Andromeda, of the fable recounted in Ovid’s Fasti, then the Europa responds to its pendant by inviting formal decision could be explained in part as a response to ESSAYS comparisons of the kind that Titian had instructed Philip’s deployment of the cosmos in self-referential Philip to draw between his first pair of poesie (even terms and identification as a descendent of Olympus.23 91 THE ARTISTIC LEGACY Appendix if it remains unclear how he had recorded the The focus of both this painting and the entire cycle on composition of the already dispatched picture). Both encounters between gods and mortals likely captivated set in seascapes, the semi-nude female protagonists a sovereign whose own triumphal imagery positioned in distress gaze upwards towards armed figures him among the ancient gods, who identified with tumbling out of the sky with kicking legs and right Jupiter and claimed descent from Aeneas, the heroic arms outstretched. Just as one of the cupids mimics offspring of a Trojan prince and the goddess Venus.24 OF TITIAN’S POESIE Perseus’ diving rescue, Europa’s recumbent body Furthermore, Europa envisioned the very birth of THE with legs askew contrasts with Andromeda’s upright European civilisation for the first ruler in history posture and demure stance. Titian invested the whose authority extended across the seas to all twinned visual vocabularies with complementary four continents.25 meanings. For example, he redeployed the same red Circumstantial evidence suggests that this subject Javier Portús 195 The correspondence between Titian and Philip II sash that announces Andromeda’s impending rescue occupied a unique place in the relationship between DEATH to signal Europa’s desperation and imminent fate. painter and patron. In a letter to Philip (see letter 212, Maurice Shapiro has even argued that the pair can p. 00), Titian characterised this concluding instalment be interpreted as allegories of salvation and death, of the poesie as the crowning achievement of all the DANAË just as the two Diana pictures should be understood works he sent to Spain (‘E posso dire che elle siano 204 Provenance and Selected Literature as complementary parables of violence and virtue.20 il soggello delle molte altre che da lei me furono OF 26 How Titian chose the subject of Europa remains ordinate’). Europa stands out for the fact that – unlike a mystery but Philip may already have been familiar several of the other poesie – Titian’s workshop never with his approach to this subject. The king’s close produced any later variants of it, although one friend and fellow collector Martín de Gurrea y Aragón was offered to the Emperor Maximilian I in 1568.27 207 Notes ACTAEON (1525–1581), 4th Duke of Villahermosa, already owned When Isabella Stewart Gardner purchased Europa a Europa (now lost) by Titian, who gave it to him in over three hundred years later in 1896 for £20,000 London in 1555.21 The implication is that there was an (plus £1,000 commission for Gardner’s agent), it set earlier version, which would conform to precedents a record for the highest price paid for a painting in the including Danaë and Venus and Adonis (cats. 1, 2). United States.28 Bernard Berenson had first offered Whether or not Philip knew of the earlier version, it to her Boston rival, Susan Cornelia Warren, and 216 Bibliography Titian’s painting for the monarch likely appealed to then strategically brought it to Gardner’s attention him on multiple levels.22 An array of paint marks in only days after her failed attempt to secure a the sky above the bull’s head raise questions regarding similarly expensive picture: The Blue Boy by Thomas one potential meaning for its owner. Clearly deliberate, Gainsborough (£30,000), which the Duke of they may have been intended to evoke a constellation, Westminster ultimately withdrew from sale. Gardner 220 Index even if the earth-coloured daubs hardly resemble got Europa for a comparative steal. She celebrated the sparkling white stars in his Bacchus and Ariadne its arrival in Boston, writing to Berenson: ‘I am (see fig. NG35). If Titian sought to depict Taurus, the breathless about the Europa … after a two days’ orgy. constellation into which Jupiter transforms when he The orgy was drinking myself drunk with Europa then returns to the heavens at the conclusion of a version sitting for hours in my Italian Garden at Brookline, 224 List of Lenders and Photographic Credits thinking and dreaming about her.’ WELLINGTON COLLECTION, THE NATIONAL GALLERY APSLEY HOUSE Detail of the flying cupid in a similar pose to Perseus’ Overleaf: in Perseus and Andromeda Detail of Europa, (cat. 4). waving a red veil. THE RAPE OF EUROPA 177 ESSAYS PAUL HILLS TITIAN’S repeatedly praises Titian for the work of his divine ‘pennello’ (brush), while Lodovico Dolce writes of his TRANSFORMATIONS: ‘colpo di pennello’. 2 Here the primary meaning of the Italian word ‘colpo’, as ‘strike’ or ‘blow’ rather than COLOUR AND ‘stroke’, is particularly apt. In the poesie, the violence that runs as a disturbing current through all the EMOTION stories is matched by the violence of the painter’s touch – the palpable hit of his brush. Palma Giovane IN THE POESIE (1544–1628), who had witnessed the aged Titian at work in his studio, reported to Marco Boschini that the master would lay in a painting with bold strokes, leave the canvas turned to the wall for several months, then examine it as if it were ‘a mortal enemy’, before attacking it with a few bold strokes.3 Five years before Titian embarked on the first The practice of oil painting shaped Titian’s ways of his poesie he spent six months in Rome where he saw of seeing and imagining. By the time he embarked many of the masterpieces of Michelangelo (1475–1564) on the poesie for Philip II of Spain, more than five at first hand and became more conscious than ever that decades of working in oil on canvas had nurtured it was Michelangelo, the presiding genius of the visual a special feeling for the transformative potential arts and supreme master of disegno (design/drawing), of painting and an understanding of how a picture whom he needed to challenge. His response involved might be developed, modified and coaxed into shape assimilation, defiance and wit. He assimilated the over time. In the stories of gods and mortals, given monumentality of Michelangelo’s nudes by enlarging enduring popularity by Ovid’s Metamorphoses and his figures and giving them greater weight and mass. recently translated into Italian as Le Trasformationi by In the first poesie delivered to Philip, the Danaë now his friend and champion Lodovico Dolce (1508–1568), in Apsley House (cat.
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