"Flower" Titian (1478-1576) The flower god was originally the goddess Flora in Greek mythology. The Italians designate April 28th to May 3rd every year as the Flora Festival. During the festival, people gather together to have fun. People decorate themselves and animals with various flowers, and the environment is also filled with flowers and plants. Flower gods appear from time to time, often dressed as young and beautiful women holding flowers. Painters have always liked to use mythical goddesses to express their aesthetic ideals and convey thoughts and feelings about human nature, human feelings and love. This is a very portrait-themed painting, which shows a Venetian beauty holding a bouquet. The whole image is like blooming flowers, which is admirable. It is said that the woman in the painting was the painter's passionate lover at that time, and the painter just used the name of myth to express his love for his lover. The artist composed the portrait as a half-length portrait. The person in the painting turns around and looks down, his eyes focused and contemplative; it seems that due to the movement of turning, the loose underwear naturally slips off, exposing the plump breasts; the golden hair is spread on the round shoulders, and the body is full of life. Forming a contrast, the strong body reveals youthful vitality, and the whole image gives people a sense of solemnity and elegance. Titian was a great master of color. He particularly emphasized the harmony of colors. Painting strokes must be subject to the needs of color and light contrast. The brush strokes must not only depict the texture of the object, but also the dynamics of the brush strokes play a role in shaping the physical structure and conveying emotions. effect. We cannot see the brushstrokes and colors in the image of the Goddess of Flowers. What we see are the real hair, body and clothing. The rich rhythm between them is like a beautiful and harmonious symphony.
Titian Vecellio (1478-1576) was born in Cadole, a beautiful mountain town in the north of Venice, Italy. When he was 12 years old, his father took him to visit Venice. Later, Titian visited Venice again. When he came to Venice, he entered Giovanni Bellini's studio to study painting, and he never left Venice for almost his entire life. The Venetian School of the Italian High Renaissance. Was a student of Giovanni Bellini and was influenced by Giorgio. In his youth, under the guidance of humanistic ideas, he inherited and developed the painting art of the Venetian School and advanced the use of colors, shapes and brushstrokes in oil paintings to a new stage. The moral concepts of the emerging bourgeoisie are reflected in the religious paintings "Tax Silver" and "The Assumption of the Virgin". Works with mythological themes such as "Eros" and "Bacchus and Princess Ariadne" are full of joyful mood and vigorous vitality. However, after Charles V granted him the title of nobility in 1533, he painted "Spain Saved Religion" and "Philip II Dedicating the Newborn Prince Don Ferdinand to the God of Victory" to attract the powerful. works. His portraits reveal the inner world of his characters. In the middle age, the painting style is meticulous, steady and powerful, and the colors are bright; in the later years, the brushwork is bold and the tones are simple and full of changes. In terms of oil painting techniques, he had a great influence on the development of European oil painting in the later period.
The first masterpiece in which his personal style matured was "Sacred and Secular Love" (1512~1515), which shows two women symbolizing the two kinds of love, sacred and secular, on both sides of the painting, with a landscape in the background. They are also different. The background of divine love (on the left) is a hilly castle, while the background of secular love is a lakeside town, but they are both connected to the springs, rocks and trees in the foreground. The two symbolic women are depicted very well: the divine love is represented by a neatly dressed woman, and the secular love is represented by a naked girl. They are leaning against each other on both sides of the classical sarcophagus-style pool in the center of the picture, forming a sharp contrast. The image of the naked girl is healthy, beautiful and radiant. It is known as the best work that expresses the ideal of female beauty in Renaissance art. Another painting, "The Festival of Dionysus", has a subtle and poetic arrangement of landscapes and figures, still bearing the legacy of Giorgione, but Titian's brilliant use of colors and warm colors as the base indicate that he has He has mastered the oil painting technique more outstandingly. This novel expression method can perfectly adapt to the requirements of his vigorous and healthy modeling, thus creating a series of high-Renaissance art models that are highly harmonious in content and form. Since then, Titian's masterpieces have continued to appear. The altar painting includes "The Assumption of the Virgin" (1516~1518) in the Frari Church in Venice. This is a giant structure with a height of 6.9 meters and a width of 3.6 meters. It is divided into three sections: the saints on the ground, the Virgin Mary ascending in the clouds, and God on the ceiling. The image of God flying freely and the circular composition of the clouds He may have absorbed the styles of Michelangelo and Raphael, but the richness of the colors and the vividness and power of the figures are entirely Titian's true qualities.
The images of the Madonna rising in the sky and the saints on the ground who are amazed by the miracles are not only comparable to Michelangelo in terms of expressing strong movement, strength and majestic body, but also opened up a new era for the Venetian School. field, so this painting was hailed as "the first masterpiece of modern times" as early as the 16th century. Representative works of Issyk's sacrifices based on classical mythology include a group of oil paintings produced for the Duke of Ferrara from 1518 to 1524: "The Worship of Venus", "The Banquet of the Andrians" and "Bacchus" With Ariadne". The first picture shows many little cupids (winged babies) playing and eating under the statue of Venus. The second picture depicts the miraculous story of the people on Andrea Island discovering the miraculous story of wine gushing out of water springs. The third picture is It shows the encounter between the god of wine Bacchus and his lover Ariadne in the forest. Each painting is backed by beautiful landscapes, and the characters are vivid, passionate, and physically fit as never before. Titian's masterpieces from this period also include some portraits and figure paintings, such as "Youth with Gloves" (1520-1522) and "The Blue God" (1516). The former is a portrait of an unknown nobleman, while the latter is a portrait of a woman created in the name of a classical goddess. Both paintings are excellent in their portrayal of life, and are even more unique in their depiction of typical character and mental outlook. Titian's portraits are also permeated with a lively style. In the creation of the image of "The Blue God", the sketches of the model prototypes (the women in "The Blue God" and "Field Ensemble" and "Sacred and Secular Love" may all be (Taken from the same prototype) combined with ideal processing, integrating health, beauty, intelligence and sublimity, and emphasizing plump and passionate female beauty, establishing a series of typical female style characteristics of Titian in the future. In 1510, he painted seminary murals in Padua. In 1512, he returned to Venice. In 1516, he succeeded Bellini as a painter and Chinese painter. In 1518, he completed the "Assumption of the Virgin" in the Frari Church in Venice. In 1532, he met Emperor Charles V in Bologna and painted his portrait. As a result, he was named an extraordinary count, court painter and became the emperor's personal friend. After Charles V granted him the title of nobility in 1533, he painted works such as "Spain Saved Religion" and "Philip II Dedicating the Newborn Prince Don Ferdinand to the God of Victory" to attract the powerful. His portraits reveal the inner world of his characters. From 1545 to 1546, he visited Rome only once in his life, where he painted "Pope Paul III and His Nephews" which focused on characterization. In 1548-1549 and 1550-1551 he visited the imperial court in Augsburg, made semi-official portraits of court dignitaries, and worked for Charles V's successor, Philip II of Spain. In the middle age, the painting style is meticulous, steady and powerful, and the colors are bright; in the later years, the brushwork is bold and the tones are simple and full of changes. In terms of oil painting techniques, he had a great influence on the development of later European oil paintings. In his later years, he sat in a garden villa by the sea, with the noisy wave music ringing in his ears, and his wonderful ideas brewing in his mind. During the day, he worked tirelessly in the studio painting, and at night, he feasted all night long, tirelessly and without any worries. Died in 1576. There is a certain social foundation for the emergence of a painting master like Titian in Venice who is so passionate and full of color. Under the conditions of excellent economy, people are increasingly interested in freedom and worldly philosophy. Titian used Greek mythological themes to express the joy and enjoyment of life, which is in line with the rebellious psychology of some people under the long-term constraints of theological thought. Titian had a great influence on later European paintings. He lived as long as Michelangelo, and was as lucky and favored as Raphael. Among the upper classes, his works were the most prestigious, and he had extensive friendships with progressive humanist scholars in Venice. He opposed the autocratic power of the church. In the most reactionary era, he resolutely safeguarded the dignity of the nation. Both his early and later works realized the meaning of realist art through the expression of human activities and character. The Venetian School advocated color, and Titian's color expression had reached the pinnacle of this school. In the eyes of Venetians, everything in nature is not divided by lines, but everything is blended together like mist. This is the characteristic of the scenery of the water city. Although his style did not change much throughout his life, his style in each period still had its own characteristics. Titian's early and middle works were already excellent in their use of color, while his later works were even more composed of broad, bold brushstrokes and piles of paint, which are suitable for distant viewing.
The development process of his style also represents the development process of Western oil painting. At first, the style was relatively delicate, expressing objects through color and outline, and then developed to mainly relying on light and color to express objects. The changes in his style in the middle period influenced the Baroque style. painting, and later influenced later Romanticism and Impressionism. Titian's artistic career and rich creative practice promoted the development of the Venetian School of Painting in the 16th century. His art directly or indirectly influenced several generations of Venetian School painters. Titian's long life allowed him to go through different stages, and if his work begins with a pleasant vision of the nature of the work of Titian Vecellio, full of vitality and idealization, it leads to Classical in color, his later works are full of fascinating enthusiasm, both in interpretation and technique, which is the prelude to Baroque aesthetics.
Titian had a profound knowledge and understanding of the performance of colors and their interrelationships. He used bold colors and his tones were extremely rich, bright, subtle and accurate; his brushstrokes were passionate, smooth and unconventional; The picture is loud and harmonious, full of vitality and vigorous and luxurious beauty.
Titian had a very clear influence on his contemporaries, but for a man who has always been influential, His effect on future generations is even greater, and his compositions provide endless inspiration for future generations. Not only the Venetians, but also countless artists from other parts of Europe admired Titian and made him the object of profound study. Italians such as the Collaccis and their school, Flemish painters such as Rubens and Van Dyck, Frenchmen such as Poussin and Blanchard, or Spaniards such as Velázquez, and others Over the next many years, almost all the successors of the Madrid School analyzed or copied Titian's works in order to seek light and color in them, and to seek the ideal beauty and the power expressed in the vibrant works. Centuries have passed, and Titian still remains in history as a great painter and a model of a talented artist. His deft brush can solve any aesthetic problem with solemnity, nobility and perfection. Vasari once commented that in Italy, no one could compare with Titian's painting genius, neither Raphael nor Leonardo da Vinci could catch up with him.