Painter titian biography

Summary of Titian

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Accomplishments

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Titian

Titian was the greatest painter of 16th-century Venice, and the first painter to have a mainly international clientele. During his long career, he experimented with many different styles of painting which embody the development of art during his epoch.

Youth and debut

Titian (Tiziano Vecellio) was born in Pieve di Cadore, a small town at the foot of the Dolomites on the Venetian side of the Alps. The Vecellios had been based in Cadore since the 14th century. Titian’s father, Gregorio, was a military man. His older brother Francesco was also a painter. There is still no documentary evidence of Titian’s exact date of birth, but contemporary sources and his early stylistic development suggest that he was born around 1490.

When he was about 10 years old, Titian arrived in Venice, then one of the wealthiest and most cosmopolitan cities in the world.

Titian started his artistic training in the workshop of the mosaicist Sebastiano Zuccato. He later briefly joined Gentile Bellini’s workshop. After Gentile’s death in 1507, Titian joined the workshop of Gentile's brother, Giovanni Bellini, which at that time was the most important in Venice.

However, it was through contact with Giorgione, who had also previously trained in Giovanni Bellini’s workshop, that he mainly develop

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Titian (ca. 1485/90?–1576)

Tiziano Vecellio (ca. 1485/90?–1576), known as Titian, was the greatest Venetian artist of the sixteenth century, eventually gaining international fame. Titian is known above all for his remarkable use of color; his painterly approach was highly influential well into the seventeenth century. Titian contributed to all of the major areas of Renaissance art, painting altarpieces, portraits, mythologies, and pastoral landscapes with figures.

Early Works
Titian trained under two other seminal Venetian artists, Giovanni Bellini (active by 1459, died 1516) and Giorgione (1477/78–1510). The latter, with whom Titian also collaborated, was influential for his tonal approach to painting and for his landscape style, which was atmospheric and evocative. The two artists worked in such a similar manner that the line between them has been hard to fix: this is true especially for some pastoral landscapes, in which the beauty of nature is celebrated alongside love and music. Titian’s drawings of this period, such as Landscape with a Goat (1991.462) and Two Satyrs in a Landscape (1999.28), are such pastoral landscapes, the latter with mythological figures in a lush landscape whose untamed beauty contrasts with a carefully balanced arrangement.

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