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Titian
Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort
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Rethinking Savoldo's Magdalenes
Body, Identity, and Narrative in Titian's Paintings
Salome: the Image of a Woman Who Never Was
Rape of Lucretia) Tears Harden Lust, Though Marble Wear with Raining./...Herpity-Pleading Eyes Are Sadly Fix’D/In the Remorseless Wrinkles of His Face
Best of ITALY
Bacchus and Ariadne by Titian
Titian (Tiziano Vecellio)
Painting Lucretia
Danaëandvenus and Adonis
INNOVATION and EXPERIMENTATION: VENETIAN RENAISSANCE and MANNERISM (Titian and Pontormo) VENETIAN RENAISSANCE
Pietà Rovaiweber Design, Firenze
Titian's Later Mythologies Author(S): W
Boucher: Three Pastoral Scenes
Caragh Thuring's 'Assembly'; Muntean/Rosenblum at Team Gallery
Titian, the Rape of Europa, Isabella Stewart Gardner Museum, Boston
Bellini, Giorgione, Titian, and the Renaissance of Venetian Painting at the National Gallery of Art Washington June 18–September 17, 2006
Titian Titian (C.488/1490 – 1576) Is Considered the Most Important Member of the 16Th-Century Venetian School. He Was One of T
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Review of Titian and the Golden Age of Venetian Painting Annemarie Sawkins Marquette University,
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Technical Bulletin Has Been Supported National Gallery Technical Bulletin by Mrs Charles Wrightsman Volume 36 Titian’S Painting Technique from 1540
The Art of Venice
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Giorgione's Sleeping Venus
Titian's Danaë
Giulio Romano's Louers: a Reflection on Its Visual Sources and Literary Associations Michiaki KOSHIKAWA in the Life of Giulio Romeno, Giorgio Vasari Described
Jacopo Tintoretto's Female Concert
Portrayal of Lucretia and Achilles by Giuseppe Cades
Art Analysis
Shared Ideas Between Visual and Musical Arts 1450-‐1750
Giovanni Morelli and His Friend Giorgione: Connoisseurship, Science and Irony
Titian Also Known As Vecellio, Tiziano Venetian, 1488/1490 - 1576
Poetry in Paint: Titian's Late Mythologies Online Conference
Christopher J. Nygren
The Self-Portrait ‘En Décapité’ Interpreting Artistic Self-Insertion
W 19 Self Portrait
Venus with a Mirror C