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DETAILS OF CHRIST Titians son Pomponio Titians „Jesus Christus am Kreuz“ Öl auf Leinwand, Maße ohne Rahmen: ca. 130 cm x 82 cm „Christ on Cross“ Pomponio - Titians dream - dying, rotten by this ragged armageddon - world on Golghata Das erste aus der auf Ziegler zurückzuführenden Quelle erworbene Bild zeigt einen an der Welt verendenden „Christus am Kreuz “, Titians Sohn Pomponio. Dieser wurde von Titian immer als Jesus dargestellt - doch sein Traum zerbrach... Das Gemälde wurde schon vom Verkäufer als „wohl 16. Jahrhundert“ beurteilt. Visible is a material folding for shipment, as was complained by Philipp II as highly annoying in a painting sent to him. Both paintings might have been. works intended for Emperor Charles V or Philip to furnish the new monastery castle El Escorial in the sacristy. (Construction 1563) Dieser Christus mit betont ausgeprägter Dornenkrone und „Bosch´schen Blutstropfen“, war evtl. dort als Counterpart zu Boschs „Christ of Thornes“ geplant. Die fast kubistische Szenerie im Hintergund scheint ebenfalls auf Bosch zu verweisen: „Crucifixion with a Donor“. Wir erkennen auch die Sichel aus Titians „Noli me tangere“. Der ergreifende „Christus am Kreuz“ - mit kaschierender-Locke über dem Leberfleck des Zeichen der Abstammung von der „Heiligen Familie“, ist Titians Sohn Pomponio: Titian:Emmaus, Noli me tangere, „Jesus Christus am Kreuz“, Resurrection, Raffael, Disputatione vgl.: http://diepresse.com/home/kultur/kunst/1458405/Sensationsfund_Unbekannter-Tizian-entdeckt Crown of Thornes Magdalena (Pieta) „From about 1560 Titian made a radical change of style, probably caused by the many personal strokes of fate of this time. His paintings echo with his personal fate, they become darker, more melancholy and are painted with bold style. It was not until the last decade of his life that Titian succeeded in completely overcoming the classic High Renaissance. So far, despite its manneristic tendencies. This change of style becomes particularly clear in the Munich Crown of Thorns (1567-70). The “Torment of Marsyas” is one of the works Titian worked in 1576, when a terrible plague raged in Venice. The sad, gloomy mood, u. a.from the death of his son Orazio is also felt here. The blazing brown-red tones and the dark, the only occasionally lit main colors make the cruelty of the depicted mythological scene even more frightening. Marysas is hung on her hooves, like an animal carcass while being skinned by his tormentor Apollo and his assistant. (I am”sorry to say, that the “Torment of Marsyas” is one of the “fake- pictures” - .of triumph of the “Secret Cercle” .. Didnt you wonder, there is no feeling of real deep titianic pity? ) Fall of folds and „rhomboids“ vgl. Madonna and Lavinia-scarf The Body-Face: „Suffering Jesus“ = Pomponio Last breath, Leichen-Gesicht Titian, Pieta - finished by Palma Giovane ... also a Body-face ... https://en.wikipedia.org/wiki/Piet%C3%A0_(Titian) Titian's Pieta: The master of light … plunges into darkness http://panathinaeos.com/2011/11/12/titians-pieta-the-master-of-light-plunges-into-darkness/ “Titian painted the Pietà when Venice was struck by plague. It was made as an ex voto offering, a prayer for the survival of himself and his beloved son, Orazio. His plea went unanswered. Titian is recorded as having died “of fever” on August 27, 1576. Orazio also died during the plague.” The Pieta gives associations to a lodge-temple . Titian was a seeker ... in these times even more. https://en.wikipedia.org/wiki/Piet%C3%A0_(Titian) The Heavenly Jerusalem as Armageddon, awaiting the big flood, Endzeit cubistic ... „Heavenly Jerusalem is often schown in a cubistic design“ The sea of Pomponios procreation ... Never forget the ambiguity of Titian ! ...... with a „mourning belt“ ? ( see Madonna ) The Blood-drops Faces made by blood-drops vgl. Profil , Titian - Titian - St Matthew The scull: Emperor Maximilian I. ..... suspiciusly stared upon by „changing faces“. D Death-face of Maximilian I. Mithras-Tempel Titians Mithras ! Schloß Angouleme auf Mithras-Grotte? The turning sickle .... House and two faces Furious negro The known coati, prbl. positive, saving the arc ... Underwater-World: Aquarius - Last days: Drowning world Florence had built an Arc of Noah“ ! The exactly known curve of this mountain tells about the „hill“, where the bones of Magdalena were hidden . This was Dürers families job. ... and „Saviour“ Dürers job himself to save it - before he came to Cadore. The mountain is designed as a seal – sign for something „highest Holy“. Beyond are: 2 houses together with the faces of Young-Titian und Caecila Above the houses are Sumerian faces: Antique watergod Ea and an „ Alien“, „Holy-Frog“. Was Titian in oldest age also lead by archetypes? I found those hints also in the „Pieta“. All this seems to be no more the normal human level ? There are many more faces. ... Upon the seal-hill of Magdalenes bones ....: a „Lavinia in the fruitbowl“ and a grail-duck. (Titians „last grail ...) Underground-“robber“ Titian with miners head.lamp ! Yes ! Remember, his family managed mines. New Church Pomponio . „ TF“ - almost the same as in Lavinias painting under the arc The moon I found just evtl. Mercurius - Alchemie ? Or Saturn – Chronos ? The moon .... also at the hip ... https://www.bibliotecapleyades.net/cienciareal/corpushermeticum/hermes_trailwingedgod.htm ... with the hooknose- face of Pope Pius .... simultaneously 100 % the tormented Titian ! Titians doubts and search for the truth ? Titians Dream: Pomponio as Jesus-like Leader for „New Church“ Titian, Auferstehung Christi ... shinig upon „New Church“. http://www.elisarion.ch/fileadmin/tizian/Tizian_Auferstehung_Christi_Brescia.jpg Pomponio - Titians dream http://www.elisarion.ch/das_literarische_werk/werkverzeichnis_eduard_von_mayer/die_seele_tizians/tizian_und_das_leb en.html Hero Young Titian - fighter against Evil and Vatikan ..... .... grabbing his Goldfish Caecilia . to create a new Jesus-line ... (by „Old Dürer „!?) http://www.elisarion.ch/fileadmin/tizian/Tizian_Perseus_und_Andromeda.jpg https://www.albrecht-duerer-apokalypse.de/seine-zeitgenossen/hieronymus-bosch/die-versuchung-des- heiligen-antonius/ There is more ...! Titian's yearning for a New Church "Certainly, today's time, which is not decidedly further than Titian's one-third of a millennium ago, owes many a miraculous experience to his soul-fighting. But only a blunt sense can escape the fact that under the splendor of this work of art, a suffering hides, that a Faust wrestling wrestling in the depth and beauty of his characters seeks to stun. There is no mistaking in his self-portraits; but to search for this emotional suffering by not achieving the desired perfection of the painting style is superficially. He may have been dissatisfied with his manner of painting, striving for something new, trying every innovation, but that was only because a way of painting, of course, can not overcome an inner conflict and therefore no work brought him complete happiness. Titian's sense of color and joy of form would be the means of the greatest revelation, but he owes us the last redemption, he carries us powerfully, but his Ikarosflug always fails shortly before the goal - it is coincidence or not that all free-floating figures fail him , yes, with him often seem to fall, Titian did not find the new that he sought for himself and humanity; He himself was still rooted too much in the old - too much, and yet no longer entirely: that is what constitutes his personal tragedy. He captures and deepens the biblical legends, yes! He lives in them when he describes them. but medieval piety, as best shown in the pictures of Fra Angelico da Fiesole, was alien to him: this confesses his own work. The majority of Titian's paintings are for churches and chapels, for devotion, but do they really reflect the medieval religion? The fact that he pushes back the chronical in the events to be praised and emphasizes what is essentially human is in itself perhaps only the health of his artistic sense; yes, but this very healthy impulse of the painter had to keep him away from suffering as well as ecstasy, these two poles of the Christian world-view, whose axis is the painful importance of unique oriental events. When Titian has come to a psychology of light that reaches to the bottom of the soul in the moods of the weather, why does the ninety-year-old paint the fiery scene of the "Shepherd and the Nymph" (1566-70) with such glittering splendor? Because the substance required such a representation? Much more! because his feelings met this substance with still intemperate sense-force in joy; but suffering and tormenting, this master of the "lust for the eyes and the lust of the flesh" has always dived into the gloomy world of the shadows, because shadows have settled on his soul, Even in the half-figure of Christ (Pitti, 1514), the whole sublime tranquility of the divine child-grasp of the world, which loves the world, and blesses the world, comes to the deepest incarnation.” “ How far removed is this Christ from the gloomy, harsh, distorted Judge of the Byzantine images, unlike the ascetic medieval christian conception, and how nearer to the mild nature of the life-healer, who only then blazed in sacred anger, where he found the sincerity of warm feeling in lovelessness, fairness mid in ossified greed. Titian, in this picture of Christ, has greatly anticipated the future; Perhaps he himself did not realize the significance of this work: in any case, it is so strange that the painter, whose first and last work was a dead Christ, who painted in his life the largest and most magnificent altarpieces, actually was no religious painter, neither in the medieval ecclesiastical sense, nor in the future personal, nor even in pagan natural, at most in the modern ambiguous. Maybe the time was not ripe yet. Where the premature rebirth of beauty and earthly joy stopped, a harder struggle had to begin, a "transformation" of the spirit; outwardly its antagonism - democratic, moral strict, word-wise, sober - the Reformation is perhaps after all a second, more powerful phase of the Renaissance.
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  • Pietà Rovaiweber Design, Firenze

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    MITTEILUNGEN DES KUNSTHISTORISCHEN INSTITUTES LVII. BAND — 2015 IN FLORENZ HEFT 3 LVII. BAND — 2015 MITTEILUNGEN DES KUNSTHISTORISCHEN HEFT 3 INSTITUTES IN FLORENZ Inhalt | Contenuto Redaktionskomitee | Comitato di redazione Aufsätze Saggi Alessandro Nova, Gerhard Wolf, Samuel Vitali _ _ Redakteur | Redattore Samuel Vitali _ 255 _ Dorothy F. Glass Editing und Herstellung | Editing e impaginazione The Sculpture of the Baptistery of Parma: Context and Meaning Ortensia Martinez Fucini Kunsthistorisches Institut in Florenz Max-Planck-Institut Via G. Giusti 44, I-50121 Firenze _ 293 _ Cyril Gerbron Tel. 055.2491147, Fax 055.2491155 The Story of Fra Angelico: Reflections in Mirrors [email protected] – [email protected] www.khi.fi.it/publikationen/mitteilungen Die Redaktion dankt den Peer Reviewers dieses Heftes _ 321 _ Christopher J. Nygren für ihre Unterstützung | La redazione ringrazia i peer Titian’s Miracles: Artistry and Efficacy Between the San Rocco and reviewers per la loro collaborazione a questo numero. Christ the Accademia Graphik | Progetto grafico Pietà RovaiWeber design, Firenze Produktion | Produzione Miszellen Appunti Centro Di edizioni, Firenze _ _ Die erscheinen jährlich in drei Heften und könnenMitteilungen im Abonnement oder in Einzelheften bezogen _ 351 _ Donatella Fratini werden durch | Le escono con cadenza Due disegni di Giorgio Vasari provenienti dall’eredità del cavalier quadrimestrale e possonoMitteilungen essere ordinate in abbonamento o singolarmente presso: Francesco Maria Vasari per il Salone dei Cinquecento in Palazzo Vecchio Centro Di edizioni, Lungarno Serristori 35 I-50125 Firenze, Tel. 055.2342666, Fax 055.2342667, [email protected]; www.centrodi.it. _ 361 _ Stefano Pierguidi Preis | Prezzo Il Costantino di Bernini in San Pietro.