LaurieAnnie's photos with the keyword: Titian

Title: The Madonna of the Rabbit, after Titian Artist: Edouard Manet (French, Paris 1832–1883 Paris) Artist: after Titian (Tiziano Vecellio) (Italian, Pieve di Cadore ca. 1485/90?–1576 Venice) Date: ca. 1850–60 Geography: Country of Origin France Culture: French Medium: Oil on canvas Dimensions: 27 9/16 × 33 1/16 in. (70 × 84 cm) Frame: 35 13/16 × 41 5/16 in. (91 × 105 cm) Classification: Paintings Credit Line: Musée du Louvre, Paris, Département des Peintures (RF 2017 7) This is one of several copies Manet made of celebrated paintings in the Louvre. The idyllic landscape setting of Titian’s painting (ca. 1530) draws inspiration from the Arcadian settings of classical poetry. Manet would return to the idea of figures at leisure on a shady lawn in a woodland clearing in his Déjeuner sur l’herbe, which he exhibited in 1863 at the Salon des Refusés (an exhibition of art rejected by the official Salon). Text from: www.metmuseum.org/art/collection/search/845078

Title: The Madonna of the Rabbit, after Titian Artist: Edouard Manet (French, Paris 1832–1883 Paris) Artist: after Titian (Tiziano Vecellio) (Italian, Pieve di Cadore ca. 1485/90?–1576 Venice) Date: ca. 1850–60 Geography: Country of Origin France Culture: French Medium: Oil on canvas Dimensions: 27 9/16 × 33 1/16 in. (70 × 84 cm) Frame: 35 13/16 × 41 5/16 in. (91 × 105 cm) Classification: Paintings Credit Line: Musée du Louvre, Paris, Département des Peintures (RF 2017 7) This is one of several copies Manet made of celebrated paintings in the Louvre. The idyllic landscape setting of Titian’s painting (ca. 1530) draws inspiration from the Arcadian settings of classical poetry. Manet would return to the idea of figures at leisure on a shady lawn in a woodland clearing in his Déjeuner sur l’herbe, which he exhibited in 1863 at the Salon des Refusés (an exhibition of art rejected by the official Salon). Text from: www.metmuseum.org/art/collection/search/845078

Title: The Madonna of the Rabbit, after Titian Artist: Edouard Manet (French, Paris 1832–1883 Paris) Artist: after Titian (Tiziano Vecellio) (Italian, Pieve di Cadore ca. 1485/90?–1576 Venice) Date: ca. 1850–60 Geography: Country of Origin France Culture: French Medium: Oil on canvas Dimensions: 27 9/16 × 33 1/16 in. (70 × 84 cm) Frame: 35 13/16 × 41 5/16 in. (91 × 105 cm) Classification: Paintings Credit Line: Musée du Louvre, Paris, Département des Peintures (RF 2017 7) This is one of several copies Manet made of celebrated paintings in the Louvre. The idyllic landscape setting of Titian’s painting (ca. 1530) draws inspiration from the Arcadian settings of classical poetry. Manet would return to the idea of figures at leisure on a shady lawn in a woodland clearing in his Déjeuner sur l’herbe, which he exhibited in 1863 at the Salon des Refusés (an exhibition of art rejected by the official Salon). Text from: www.metmuseum.org/art/collection/search/845078

Title: The Madonna of the Rabbit, after Titian Artist: Edouard Manet (French, Paris 1832–1883 Paris) Artist: after Titian (Tiziano Vecellio) (Italian, Pieve di Cadore ca. 1485/90?–1576 Venice) Date: ca. 1850–60 Geography: Country of Origin France Culture: French Medium: Oil on canvas Dimensions: 27 9/16 × 33 1/16 in. (70 × 84 cm) Frame: 35 13/16 × 41 5/16 in. (91 × 105 cm) Classification: Paintings Credit Line: Musée du Louvre, Paris, Département des Peintures (RF 2017 7) This is one of several copies Manet made of celebrated paintings in the Louvre. The idyllic landscape setting of Titian’s painting (ca. 1530) draws inspiration from the Arcadian settings of classical poetry. Manet would return to the idea of figures at leisure on a shady lawn in a woodland clearing in his Déjeuner sur l’herbe, which he exhibited in 1863 at the Salon des Refusés (an exhibition of art rejected by the official Salon). Text from: www.metmuseum.org/art/collection/search/845078

Venus and the Lute Player ca. 1565–70 Object Details Artist: Titian (Italian, Pieve di Cadore ca. 1485/90?–1576 Venice) and Workshop Date: ca. 1565–70 Medium: Oil on canvas Dimensions: 65 x 82 1/2 in. (165.1 x 209.6 cm) Classification: Paintings Credit Line: Munsey Fund, 1936 Accession Number: 36.29 Venus, the goddess of love, interrupts her music-making to be crowned with a wreath of flowers by Cupid. An admiring, well-dressed youth playing the lute—the quintessential instrument for love madrigals—gazes at her raptly. In the background nymphs and satyrs dance to the music of a shepherd. Titian painted this amatory theme multiple times. This one was left unfinished, except for the landscape background, which is fully painted by Titian. Once believed to allude to contemporary debates concerning "seeing" versus "hearing" as the primary means for perceiving beauty, these pictures seem primarily to celebrate sensual pleasures. Text from: www.metmuseum.org/art/collection/search/437827

Venus and the Lute Player ca. 1565–70 Object Details Artist: Titian (Italian, Pieve di Cadore ca. 1485/90?–1576 Venice) and Workshop Date: ca. 1565–70 Medium: Oil on canvas Dimensions: 65 x 82 1/2 in. (165.1 x 209.6 cm) Classification: Paintings Credit Line: Munsey Fund, 1936 Accession Number: 36.29 Venus, the goddess of love, interrupts her music-making to be crowned with a wreath of flowers by Cupid. An admiring, well-dressed youth playing the lute—the quintessential instrument for love madrigals—gazes at her raptly. In the background nymphs and satyrs dance to the music of a shepherd. Titian painted this amatory theme multiple times. This one was left unfinished, except for the landscape background, which is fully painted by Titian. Once believed to allude to contemporary debates concerning "seeing" versus "hearing" as the primary means for perceiving beauty, these pictures seem primarily to celebrate sensual pleasures. Text from: www.metmuseum.org/art/collection/search/437827

Venus and the Lute Player ca. 1565–70 Object Details Artist: Titian (Italian, Pieve di Cadore ca. 1485/90?–1576 Venice) and Workshop Date: ca. 1565–70 Medium: Oil on canvas Dimensions: 65 x 82 1/2 in. (165.1 x 209.6 cm) Classification: Paintings Credit Line: Munsey Fund, 1936 Accession Number: 36.29 Venus, the goddess of love, interrupts her music-making to be crowned with a wreath of flowers by Cupid. An admiring, well-dressed youth playing the lute—the quintessential instrument for love madrigals—gazes at her raptly. In the background nymphs and satyrs dance to the music of a shepherd. Titian painted this amatory theme multiple times. This one was left unfinished, except for the landscape background, which is fully painted by Titian. Once believed to allude to contemporary debates concerning "seeing" versus "hearing" as the primary means for perceiving beauty, these pictures seem primarily to celebrate sensual pleasures. Text from: www.metmuseum.org/art/collection/search/437827

Venus and the Lute Player ca. 1565–70 Object Details Artist: Titian (Italian, Pieve di Cadore ca. 1485/90?–1576 Venice) and Workshop Date: ca. 1565–70 Medium: Oil on canvas Dimensions: 65 x 82 1/2 in. (165.1 x 209.6 cm) Classification: Paintings Credit Line: Munsey Fund, 1936 Accession Number: 36.29 Venus, the goddess of love, interrupts her music-making to be crowned with a wreath of flowers by Cupid. An admiring, well-dressed youth playing the lute—the quintessential instrument for love madrigals—gazes at her raptly. In the background nymphs and satyrs dance to the music of a shepherd. Titian painted this amatory theme multiple times. This one was left unfinished, except for the landscape background, which is fully painted by Titian. Once believed to allude to contemporary debates concerning "seeing" versus "hearing" as the primary means for perceiving beauty, these pictures seem primarily to celebrate sensual pleasures. Text from: www.metmuseum.org/art/collection/search/437827

Venus and the Lute Player ca. 1565–70 Object Details Artist: Titian (Italian, Pieve di Cadore ca. 1485/90?–1576 Venice) and Workshop Date: ca. 1565–70 Medium: Oil on canvas Dimensions: 65 x 82 1/2 in. (165.1 x 209.6 cm) Classification: Paintings Credit Line: Munsey Fund, 1936 Accession Number: 36.29 Venus, the goddess of love, interrupts her music-making to be crowned with a wreath of flowers by Cupid. An admiring, well-dressed youth playing the lute—the quintessential instrument for love madrigals—gazes at her raptly. In the background nymphs and satyrs dance to the music of a shepherd. Titian painted this amatory theme multiple times. This one was left unfinished, except for the landscape background, which is fully painted by Titian. Once believed to allude to contemporary debates concerning "seeing" versus "hearing" as the primary means for perceiving beauty, these pictures seem primarily to celebrate sensual pleasures. Text from: www.metmuseum.org/art/collection/search/437827

Venus and the Lute Player ca. 1565–70 Object Details Artist: Titian (Italian, Pieve di Cadore ca. 1485/90?–1576 Venice) and Workshop Date: ca. 1565–70 Medium: Oil on canvas Dimensions: 65 x 82 1/2 in. (165.1 x 209.6 cm) Classification: Paintings Credit Line: Munsey Fund, 1936 Accession Number: 36.29 Venus, the goddess of love, interrupts her music-making to be crowned with a wreath of flowers by Cupid. An admiring, well-dressed youth playing the lute—the quintessential instrument for love madrigals—gazes at her raptly. In the background nymphs and satyrs dance to the music of a shepherd. Titian painted this amatory theme multiple times. This one was left unfinished, except for the landscape background, which is fully painted by Titian. Once believed to allude to contemporary debates concerning "seeing" versus "hearing" as the primary means for perceiving beauty, these pictures seem primarily to celebrate sensual pleasures. Text from: www.metmuseum.org/art/collection/search/437827

Venus and Adonis 1550s Object Details Artist: Titian (Tiziano Vecellio) (Italian, Pieve di Cadore ca. 1485/90?–1576 Venice) Date: 1550s Medium: Oil on canvas Dimensions: 42 x 52 1/2 in. (106.7 x 133.4 cm) Classification: Paintings Credit Line: The Jules Bache Collection, 1949 Accession Number: 49.7.16 Tales from Ovid’s Metamorphoses inspired Titian to paint what he called poesie, or poetry in paint. Here, Venus tries to stop her lover from departing for the hunt, fearing—correctly—that he would be killed. The mood of sensuality, conveyed by the beautiful depiction of Venus from the back, enhances the viewer’s sense of the tragic end to this story, expressed through their exchanged glances and the frightened Cupid. Titian’s workshop made multiple versions of this composition, but this one is of exceptional quality and was painted by Titian himself. Text from: www.metmuseum.org/art/collection/search/437826

Venus and Adonis 1550s Object Details Artist: Titian (Tiziano Vecellio) (Italian, Pieve di Cadore ca. 1485/90?–1576 Venice) Date: 1550s Medium: Oil on canvas Dimensions: 42 x 52 1/2 in. (106.7 x 133.4 cm) Classification: Paintings Credit Line: The Jules Bache Collection, 1949 Accession Number: 49.7.16 Tales from Ovid’s Metamorphoses inspired Titian to paint what he called poesie, or poetry in paint. Here, Venus tries to stop her lover from departing for the hunt, fearing—correctly—that he would be killed. The mood of sensuality, conveyed by the beautiful depiction of Venus from the back, enhances the viewer’s sense of the tragic end to this story, expressed through their exchanged glances and the frightened Cupid. Titian’s workshop made multiple versions of this composition, but this one is of exceptional quality and was painted by Titian himself. Text from: www.metmuseum.org/art/collection/search/437826

Venus and Adonis 1550s Object Details Artist: Titian (Tiziano Vecellio) (Italian, Pieve di Cadore ca. 1485/90?–1576 Venice) Date: 1550s Medium: Oil on canvas Dimensions: 42 x 52 1/2 in. (106.7 x 133.4 cm) Classification: Paintings Credit Line: The Jules Bache Collection, 1949 Accession Number: 49.7.16 Tales from Ovid’s Metamorphoses inspired Titian to paint what he called poesie, or poetry in paint. Here, Venus tries to stop her lover from departing for the hunt, fearing—correctly—that he would be killed. The mood of sensuality, conveyed by the beautiful depiction of Venus from the back, enhances the viewer’s sense of the tragic end to this story, expressed through their exchanged glances and the frightened Cupid. Titian’s workshop made multiple versions of this composition, but this one is of exceptional quality and was painted by Titian himself. Text from: www.metmuseum.org/art/collection/search/437826

Venus and Adonis 1550s Object Details Artist: Titian (Tiziano Vecellio) (Italian, Pieve di Cadore ca. 1485/90?–1576 Venice) Date: 1550s Medium: Oil on canvas Dimensions: 42 x 52 1/2 in. (106.7 x 133.4 cm) Classification: Paintings Credit Line: The Jules Bache Collection, 1949 Accession Number: 49.7.16 Tales from Ovid’s Metamorphoses inspired Titian to paint what he called poesie, or poetry in paint. Here, Venus tries to stop her lover from departing for the hunt, fearing—correctly—that he would be killed. The mood of sensuality, conveyed by the beautiful depiction of Venus from the back, enhances the viewer’s sense of the tragic end to this story, expressed through their exchanged glances and the frightened Cupid. Titian’s workshop made multiple versions of this composition, but this one is of exceptional quality and was painted by Titian himself. Text from: www.metmuseum.org/art/collection/search/437826

Venus and Adonis 1550s Object Details Artist: Titian (Tiziano Vecellio) (Italian, Pieve di Cadore ca. 1485/90?–1576 Venice) Date: 1550s Medium: Oil on canvas Dimensions: 42 x 52 1/2 in. (106.7 x 133.4 cm) Classification: Paintings Credit Line: The Jules Bache Collection, 1949 Accession Number: 49.7.16 Tales from Ovid’s Metamorphoses inspired Titian to paint what he called poesie, or poetry in paint. Here, Venus tries to stop her lover from departing for the hunt, fearing—correctly—that he would be killed. The mood of sensuality, conveyed by the beautiful depiction of Venus from the back, enhances the viewer’s sense of the tragic end to this story, expressed through their exchanged glances and the frightened Cupid. Titian’s workshop made multiple versions of this composition, but this one is of exceptional quality and was painted by Titian himself. Text from: www.metmuseum.org/art/collection/search/437826

Artist: Titian (Tiziano Vecellio) (Italian, Pieve di Cadore ca. 1485/90?–1576 Venice) Title: Madonna and Child Date: ca. 1510 Medium: Oil on wood Dimensions: Overall 18 x 22 in. (45.7 x 55.9 cm); painted surface 17 x 21 1/2 in. (43.2 x 54.6 cm) Classification: Paintings Credit Line: The Jules Bache Collection, 1949 Accession Number: 49.7.15 Gallery Label: Dating from around 1510, this is among the earliest devotional paintings of the Madonna and Child by Titian. Examination with infra-red reflectography reveals that initially he conceived a conventional picture: the Madonna and child were more erect and the composition centralized. The picture has been strongly cleaned in the past and has lost much of its delicacy of definition. Text from: www.metmuseum.org/Works_of_Art/collection_database/europe...