Information

Titian
Legacy Name: Titian

The Spectrum Ruffie
Owner: Historiography

Age: 15 years, 9 months, 3 weeks

Born: June 24th, 2008

Adopted: 15 years, 9 months, 3 weeks ago (Legacy)

Adopted: June 24th, 2008 (Legacy)

Statistics

• Level: 1
   
• Strength: 10
   
• Defense: 10
   
• Speed: 10
   
• Health: 10
   
• HP: 10/10
   
• Intelligence: 0
   
• Books Read: 0
• Food Eaten: 0
• Job: Unemployed

Titian
Painting by Titian titled Cain and Abel from the following site: art bible
Now the actual artist.

Biographical info

Titian(1485-1576)

Hello, as you may have guessed by now, this pet is a biopic pet and as such there's not going to be a story about him, but a biographical essay on the person he's named after.

First off, let me preface this by saying that I created this pet namely because I love Titian's name and because he's one of my favorite painters of the Renaissance, probably my all time favorite painter of the Renaissance after Artemisia Gentileshi actually.

Now, that we've gotten out of the way, let's began shall we:

Titian, born Tiziano Vecelli was born in 1485( rough date) in a small village in the Dolomite range of the Alps near Belluno to Gregoria Vecelli and his wife Lucia. His father was the superintendent of the castle, Pieve de Cadore and managed the local mines for their owners. Overall, Titian's family was fairly well-established in the area where he was born as his father had served as a soldier and was also a fairly well known councillor in the area. He also had several family members that served as notaries in the village where he was born.

When he was around 12 years of age, Titian, along with his younger brother Francesco,were sent to an uncle in Venice to be apprenticed to a master painter. Their uncle arranged for them to be apprenticed to a minor painter by the name of Sebastien Zuccato and it was Zuccato who later arranged for the two brothers to be apprenticed to the painter Gentile Bellini . Gentile Bellini would later arrange for Titian and his brother to be apprenticed to his brother Giovanni Bellini. At the time, the two most well known painters in Venice were the Bellini brothers and thus, the Titian brothers were rather fortuitous to be apprenticed to such well known painters at such an early stage in their lives. It was here in Venice while under the apprenticeship of Giovanni Bellini that Titian would meet with several like-minded young artists among them being Giovanni Palma de Serinalta, Lorenzo Lotto, Sebastian Luciani, Giorgio Di Castelfranco, better known as Giorgione.

Giorgione in particular would influence the young Titian a great deal and indeed, in his early career it is speculated that he finished or worked with Giorgione on several of his paintings and alter pieces. Titian did however assist Giorgione in several of his more well known works, including an external fresco decoration on the Fondaco dei Tedeschi on the Grand Canal in Venice. However, Giorgione died an early death in 1510 and Titian went on to finish the rest of his works.

It was after Giorgione's death in 1510 that Titian's career would skyrocket, particularly after he received a commission in 1511 to paint three frescoes for the Scuola del Santo in Padua. By 1513 he was well known enough in Venice that he had been commissioned to paint a Battle frescoe for the Chamber of the Grand Council in the Doges Palace in Venice. Upon Giovanni Bellini's death in 1516, he would replace him as the official painter for the Republic.

During this period Titian's career soared and it is during this period that Titian eventually developed his own style veering away from the style of Giorgionne that he had used early on in his career. Some of his most famoust works include: The Worship of Venus, , The Bacchanal, and Baccus and Ariadne, all of which were pieces commissioned by Alfonso d'Este.

He was also known for doing religious works as many Renaissance artists did of that name, one of them being an altar piece of the Assumption of the Virgin that he did for the Basilica di Santa Maria Gloriosa dei Frari, Venice,Italy. The Piece itself was revolutionary for its time although how revolutionary it was for its time would not be appreciated until much later. The piece was the largest that had ever been commissioned in Venice, standing at a monumental 22 feet high and in doing so allowing the viewer to view the piece from several different vantage points, all drawing the eye toward the Virgin Mary in the center. Furthermore, the strong simple colors and strong shadows that Titian used in his work alluded to the Baroque style that would come later, itself a style that depicted on the heavy usage of form and shadow to create depth.

Titian's style would undergo an about change after his wife's death in 1530 and the vibrant primary colors that had been used in his earlier artwork would be eschewed for less muted and less contrasted colors. An example would be his heavy usage of contrasting primary colors in his earlier artworks which after his wife's death replaced with non-contrasting but similar colors. He also kept to familiar compositions instead of using the adventurous and new compositions that he had used in the past, such as the one that was used for the Assumption of the Virgin alterpiece.

Titian's style would again change in the 1540's when he took a trip to Rome in 1545 and came under the influence of the mannerists. He did many imperial commissions during this time, including one of Pope John Paul III, and 2 of Charles V.

Titian continued to paint until his death in 1576, his last piece being titled Pieta which he painted for his own tomb. The piece was later finished after his death by the painter Palma Giovane.

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