Discover painter, fresco painter, draftsperson Tiziano

Name variations

This field records and makes accessible name variations, as found in sources. Alternate spellings, nicknames, maiden names - with or without the married name - are included in this category.

: Vecellio, Tiziano
Titian
Tizian
Titiaan
Tiziano Vecellio

Qualifications: painter, fresco painter, draftsperson

Nationality/school: Italian

Born: Pieve di Cadore 1488/1490
ca. 1488-1490 (Humfrey 2007)

Deceased: Venice 1576-08-27
died here from the plague and was buried in the Basilica of Santa Maria Gloriosa dei Frari (Humfrey 2007)

See also In this field, you will find references to names of groups or to the artists that made/make up groups. You may also come across references to other artists if there was/is question of collaboration without a joint name. This is the case, for instance, with artists who rendered parts of works by other artists (such as with P.P Rubens and J. Brueghel I).

This person/entity in other databases

126 hits in RKDimages as artist
192 hits in RKDlibrary as subject
14 hits in RKDexcerpts as artist
16 hits in RKDtechnical as artist

Suggested searches in RKDartists&

Biographical information

Active in

Venetië 1498
Titian lived in Venice since 1498. He was sent to Venice by his father to be taught in painting in the studio of Sebastiano Zuccato. In 1566 Giorgio Vasari visited Titian in his house in the Biri Grande in Venice which he moved to in 1531 (Humfrey 2007).
Padua 1511
Titian's talent in fresco is shown in those he painted in 1511 at Padua in the Carmelite church and in the Scuola del Santo (Humfrey 2007).
Milaan 1540
journey to Milan in 1540 (Humfrey 2007)
Rome 1545 - 1546
journey to Rome 1545-1546 (Humfrey 2007)
Florence 1546
visited Florence on his return to Venice from his journey to Rome (Humfrey 2007)
Venetië 1546 - 1548
Augsburg 1548
journey to Augsburg (Humfrey 2007)
Venetië 1548 - 1550
Augsburg 1550 - 1551
visited Augsburg for the second time (Humfrey 2007)
Venetië 1551 - 1576

born in

active in

died in

Connections with other artists

Pupil of This field mentions the names of teachers or masters. What is at issue are the teachers who made a significant contribution to the development of a students, as opposed to every instructor they ever had. See also the 'Education' field.: Bellini, Gentile
Bellini, Giovanni
Rossi, Antonio da Cadore (I)
Zuccato, Sebastiano
Teacher of This field mentions the names of pupils. What is at issue are the pupils who were significantly influenced by a teacher as opposed to every student someone ever had. See also the 'Education' field.: Amberger, Emanuel
Barendsz., Dirck
Boba, George
Bordone, Paris
Calcar, Jan Stefan van
Dente, Girolamo
Maganza, Giovanni Battista (I)
Marescalchi, Pietro
Micheli, Parrasio
Peterzano, Simone
Polidoro da Lanciano
Ponchino, Giovanni Battista
Schiavone, Andrea
Spilimbergo, Irene di
Vecellio, Cesare
Vecellio, Marco
Vecellio, Orazio
Verdizotti, Giovanni Maria
Zago, Santo
Followed by This field mentions the artist’s emulators. Although students can naturally also be followers, they are not mentioned again here. What is meant by followers are those who continue to work in the spirit of a predecessor. Sometimes this may happen a century later; there is no time limit. What is at issue, however, is that someone’s oeuvre must substantially follow in the manner of the artist emulated.: Bosio, Jean François
Caletti, Giuseppe
Champaigne, Jean Baptiste de
Cochin, Noël (1622)
Dufresnoy, Charles Alphonse
Evelyn, John
Letterini, Bartolommeo
Mazza, Damiano
Post, Johann Bernard Hermann
Influenced by In contrast with ‘follower of’, we speak of ‘influenced by’ when an artist was influenced outside the context of an educational setting or servile following. An artist can be influenced by several artists at once, or in succession. In addition, there may be question of a transition to a personal style which may demonstrate development.: Giorgione
Influence on This field specifies the artists influenced by the artist in question, without there being question of an educational setting or servile following.: Bassano, Jacopo
Bernardino da Asola
Blanchard, Jacques
Caletti, Giuseppe
Campagnola, Domenico
Cancellieri, Bartolommeo di Guido
Carreño de Miranda, Juan
Contarini, Giovanni
Coppola, Giovanni Andrea
Corte, Juan de la
Cremona, Tranquillo
Danhauser, Joseph
Dyck, Anthony van
Faistauer, Anton
Fontana, Giovanni Battista
Frangipane, Niccolò
Giovanni da Brescia
Jordaens, Jacques
Lankrink, Prosper Henricus
Loth, Johann Carl
Marot, François
Mazzuoli, Giuseppe (schilder)
Moretto, Alessandro Bonvicino
Moroni, Giambattista
Muziano, Girolamo
Picasso, Pablo
Pordenone
Reynolds, Joshua
Rodriguez, Alonso
Romanino, Girolamo
Scolari, Giuseppe
Sebastiano del Piombo
Sigalon, Xavier
Stothard, Thomas
Sustris, Lambert
Fernández de Navarrete, Juan
Hele, Abraham del
Ramazzani, Ercole

Subjects This field specifies the various subject categories or genres that constitute the oeuvre of the artist in question. The contents of this field are generally based more on the documentation available at the RKD than on the literature.: allegory, figure study (main subject), history (genre), landscape (genre), mythology, portrait, group portrait, self-portrait, Christian religious scene, battle

Literature

Literature in RKDLibrary: 192 hits in RKDlibrary as subject

Houbraken 1718-1721 , vol. 1 (1718), p. 64, 65, 154, 184, 206, 277; vol. 2 (1719), p. 27, 160, 178, 272; vol. 3 (1721), p. 234 (as: Titiaan)
Hervey 1921 , p. 488-489 (List of works by Titian in the Arundel Collection in 1655)
Thieme/Becker 1907-1950 , vol. 34 (1940), p. 158-172
Bénézit 1976 , vol. 10, p. 200-203
Witt Checklist 1978 , p. 305
Aikema/Brown 1999 , p. 498-505
Gahtan/Pegazzano 2018 , p. 181-194 (Chapter 13: 'Titian's 1935 exhibition in Venice' by Giuliana Tomasella)
Horn/Van Leeuwen 2021 [Houbraken Translated]

H. Voss, 'Rembrandt und Tizian', Repertorium für Kunstwissenschaft 28 (1905), p. 156-162
G. Gronau, 'Zur Geschichte der Caesarenbilder von Tizian', Müncher Jarhbuch der bildenden Kunst (1908), no. 1, p. 31-34
Th. von Frimmel, 'Tizians Skizze zum Petrus Martyr', Studien und Skizzen zur Gemäldekunde 3 (1917), no. 3-4, p. 33-38
P. Dreyer, 'A Woodcut by Titian as a Model for Netherlandish Landscape Drawings in the Kupferstichkabinett, Berlin', The Burlington Magazine 127 (1985), p. 762-767
J. Wood, 'Van Dyck's ''Cabinet de Titien'' : the contents and dispersal of his collection', The Burlington Magazine 132 (1990), no. 1051, p. 680-695
W.R. Rearick, 'Le ''Maddalene penitenti'' di Tiziano', Arte Veneta 58 (2001), p. 22-41
Z. Smetana, 'Setting the Record Straight: Titian's Pietà and Vittoria's " Zane Altar '", Aurora 3 (2002), p. 42-61L.
L. Slavicek, 'Die Auktionen der Gesellschaft patriotischer Kunstfreunde in den Jahren 1796-1835', Bulletin of the National Gallery in Prague 12-13 (2002-2003), p. 25-50
J. Habert, 'The so-called Pardo Venus. A farewell to Giorgione', Apollo 157 (2003), no. 496, p. 46-54
N. Bartelings, 'Veelzijdig en genuanceerd licht op de vroege Venetiaanse prentkunst; Review of the exhibition curated by Gert Jan van der Sman,' ''De Eeuw van Titiaan. Venetiaanse prenten uit de Renaissance'', Zwolle (2003)', Incontri 18 (2003), p. 167-179
M. Bury, 'review of the exhibition curated by Gert Jan van der Sman, ' ''De eeuw van Titiaan'', Zwolle (2003)', Print Quarterly 20 (2003), no. 3, p. 289-290
P. Humfrey, 'The patron and early provenance of Titian's ''Three ages of man'' ', The Burlington Magazine 145 (2003), p. 787-791
'Acquisition of the year. ''Venus anadyomene'' by Titian at the National Gallery of Scotland, Edinburgh', Apollo 158 (Dec. 2003), p. 18-19
J. Fair Bestor, 'Titian's portrait of Laura Eustochia: the decorum of female beauty and the motif of the black page', Renaissance Studies 17/4 (2003), p. 628-673
M. Thofner, 'Helena Fourment's ''Het Pelsken'' ', Art History 27/1 (2004), p. 1-33
M. Kusche, 'A propósito del "Carlos V con el Perro" de Tiziano', Archivo Español de Arte 77 (2004), no. 307, p. 267-280
M. H. Loh, 'New and Improved: Repetition as Originality in Italian Baroque Practice and Theory', The Art Bulletin 86 (2004), no. 3, p. 477-504
J. Unglaub, 'Poussin's Reflection', The Art Bulletin 86 ( 2004), no. 3, p. 505-528
J. Fletcher, 'The Age of Titian', The Burlington Magazine 146 (2004), no. 1220, p. 778-781
P. Joannides, 'Titian in London and Madrid', Paragone 55 ( 2004), no. 58, p. 3-30
Z. Wazbinski, 'Le siècle de Titien. Gravures venitiennes de la Renaissance', Biuletyn Historii Sztuki 64 (2004), no. 3-4, p. 409-411
C. Whistler, 'Life Drawing in Venice from Titian to Tiepolo', Master Drawings 42 (2004), no. 4, p. 370-396
H. Froning, 'Tizians Gemälde ''Die drei Lebensalter''. Überlegungen zur Überlieferungsgeschichte und zur Interpretation', Zeitschrift für Kunstgeschichte 68 (2005), p. 177-190
J. Sweetman, 'John Frederick Lewis and the Royal Scottish Academy I: the Spanish connection', Burlington Magazine 147 (2005), p. 310-315
A. Bayer, 'North of the Apennines. Sixteenth-century Italian painting in Venice and the Veneto', The Metropolitan Museum of Art Bulletin, Summer 2005 (passim)
J.M. Montias, 'Artists named in Amsterdam inventories, 1607-80', Simiolus 31 (2004-2005), p. 322-347
D. Lang Clark, 'The Masturbating Venuses of Raphael, Giorgione, Titian, Ovid, Martial, and Polizano', Aurora 6 (2005), p. 1-16
M. Diaz Padrón, ' ''La continencia de escipión'' de Van Dyck, del Alcázar de Madrid, identificada en la Christ Church de Oxford', Goya (2006), no. 311, p. 85-94
L. de Fuccia, 'Pour ''la satisfaction tant attendue'' et ''les désirs passionnés'' du marquis de Seignelay', Revue de L'Art (2006-2), no. 152, p. 37-52
C. Carpinski, review of the exhibition curated by Gert Jan van der Sman, 'Le Siècle de Titien, gravures vénitiennes de la Renaissance', Revue de L'Art (2006-2), no. 152, p. 65-71
K. Hellwig, 'Aby Warburg und das ''Weberinnenbild'' von Diego Velazquez', Zeitschrift für Kunstgeschichte (2006), no. 4, p. 548-560
P. Hills, 'Titian's veils', Art History 29 (2006), no. 5, p. 770-795
V. Farina, 'Sulla fortuna napoletana dei' ''Baccanali'' di Tiziano', Paragone 58 (2007), no. 71, p. 11-42
P. Rubin, ' ''Contemplating fragments of ancient marbles'' : sitters and statues in sixteenth-century portraiture', Studiolo (2006), no. 4, p. 17-33
Ferino-Pagden 2007 (zie RKDlibrary), passim.
P. Hills, 'Titian's Fire: Pyrotechnics and Representations in Sixteenth-Century Venice', Oxford Art Journal 30 (2007), no. 2, p. 185-204
P. Joannides, J. Dunkerton, ' ''A Boy with a Bird'' in the National Gallery: Two Responces to a Titian Question', National Gallery Technical Bulletin no. 28 (2007), p. 36-57
Woods-Marsden 2007 (zie RKDlibrary), passim
P. Humfrey, Titian: the complete paintings, Amsterdam 2007
B. L. Brown, 'The fate of Mary Shelley's ''Titian''', The Burlington Magazine 150 (2008), no. 1260, p. 173-181
G. Cassegrain, 'Titien. Actualité des études', Perspective. La revue de l'INHA 2 (2008), p. 205-226
A. Joachimides, 'Tizians Laurentiusmartyrium und die "Venezianità'. Künstler und Auftraggeber zwischen Humanismus und Gegenreformation', Zeitschrift für Kunstgeschichte, 72 (2009), p. 351-368
M. Knox Averett, 'Becoming Giorgio Cornaro. Titian's portrait of a man with a falcon', Zeitschrift für Kunstgeschichte 74 (2011), no. 4, p. 559-568
G. Harris, 'Prado confirms Titian attribution. Third version of St John the Baptist turns up in Spanish church', http://www.theartnewspaper.com/articles/Prado+confirms+Titian+attribution/28038, Web only; Published online: 05 November 2012
R. Rosenhauer, ' An unknown early work by Titiaan', The Burlington Magazine 155 (2013), no. 1327, p. 660-664
J. Dunkerton, 'Titian's 'music-piece' re-emerges at the National Gallery, Londen', The Burlington Magazine 155 (2013), no. 1327, p. 665-676
National Gallery Technical Bulletin no. 34 (2013) special issue, 'Titian's painting technique before 1540'.
J. Woods-Marsden, 'The Sword in Titian's Portraits of Emperor Charles V', Artibus et Historiae, an art anthology 34 (2013), no. 67, p. 201-218
T. Nichols, 'The Master as Monument: Titian and his Images', passim, p. 219-238
P. Joannides, 'A portrait by Titian of Girolamo Cornaro, passim, p. 239-249
L. Freedman, 'Apelles, Giovanni Bellini and Michelangelo in Titian's Life and Art', passim, p. 251-273
M. Falomir, 'Titian, Jacopo Bassano and the "Purification of the Temple" ', passim, p. 275-284
J. Grabski, 'The Contribution of Collaborators in Titian's Late Works', passim, p. 285-310
M. Wivel, T. Filtenborg, 'Un'opera Giovanile di Tiziano: il ''Ritratto d'uomo'' di Copenhaghen', Arte Veneta 69 (2012), p. 40-53
M. Wivel, 'Titan and Giulio Bonasone: The Gloria that Wasn't', Zeitschrift für Kunstgeschichte 3 (2014), p.313-332
A. van Westerlaak, 'De Apelles van de koning. Titiaan en zijn brief aan Filips II', Article no. 18 ( 2017), p. 20-24
I. Artemieva, 'A la recherche de Titien', Revue de l'Art (2017) no. 197, p. 43-48

Prado confirms Titian attribution, Third version of St John the Baptist turns up in Spanish church By Gareth Harris. Web only. Published online: 05 November 2012

Documentation RKD

This field specifies the location of the various RKD documentation materials. Most of the locations refer to our art-historical image documentation. In addition, you will find references to press documentation (clippings and short articles) here.

Permalink: https://rkd.nl/explore/artists/77655

Creation date: 1992-01-26; Last modified date: 2023-05-16

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Tiziano

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