This used to be thought to be 17th-century, but is now attributed to Titian's workshop, or even Titian himself, and to date from relatively early, probably the 1520s. Tizian, Venus und Adonis, 1555-1560, 160 x 196,5 cm, J. Paul Getty Museum, Los Angeles Peter Paul Rubens, Venus und Adonis, um 1630, 197,5 x 242,9 cm, The Metropolitan Museum of Art (Gift of Harry P. Bingham), New York Falomir, Miguel, Joannides, Paul: " "Danaë and Venus and Adonis: origin and development" / " Dánae y Venus y Adonis, las primeras poesías de Tiziano para Felipe II", Boletín del Museo del Prado, 2014, pp. 37, 40, 46, fig. Tizian: Venus und Adonis - Der Poesia-Zyklus in seinen unterschiedlichen Ausprägungen am Beispiel der mythologischen Bedeutung von Venus und Adonis … 58-71, figs. Venus und mars mythologie. Summarizing the complicated history of the versions above, a possible timeline is: A series of paintings on the same subject by Titian and his workshop, Penny, 278. Depicts. 14, ill., entry by David Jaffé. Frederick Howard, 5th earl of Carlisle, 1748 - 1825 (Castle Howard, North Yorkshire, England). (Madrid: Museo del Prado, 2014), pp. Venus and Adonis. Like most of the collection, it was bought by a consortium in London after the French Revolution. La Galerie du Régent Philippe, duc d'Orléans (Paris: Goupil & Cie, Éditeurs-Imprimeurs, 1913), pp. The content on this page is available according to the International Image Interoperability Framework (IIIF) specifications. ... As overt decorative virtue yields to depth of meaning in these works colour becomes quieter, but in compensation is infused by the rougher vibrance taken on by light". 146. Venus falls in love with him after one of Cupid's arrows hits her by mistake. Studienarbeit aus dem Jahr 2010 im Fachbereich Kunst - Kunstgeschichte, Note: 2,3, Friedrich-Schiller-Universität Jena (Kunsthistorisches Seminar und Kustodie), Veranstaltung: Tizian, Sprache: Deutsch, Abstract: Ich schwöre Euch, mein Herr, dass sich kein Mann findet, der über ein so scharfes Auge und ein so scharfes Urteil verfügt, dass er sie nicht für lebendig hielte, wenn er sie sieht. cat. Baldassare Erba Odescalchi, died 1746 (Rome, Italy), sold to Pierre Crozat, 1721. Paul Joannides has suggested this, hypothesising that the original lost Farnese painting, or yet another version, may date back to the 1520s or even earlier. H. Shickman Gallery (New York, New York) and Hazlitt, Gooden & Fox, Ltd. (New York, New York; London, England), sold to the J. Paul Getty Museum, 1992. It is often thought that this was the earlier of the two types, possibly originating in the 1520s, although the matter is not certain, and it seems clear that both types continued to be produced until late in Titian's career, and developing details in the Prado type composition appear in Farnese versions. In The Cambridge Companion to Titian. 6th ed. Francesco Maria Balbi, 1619 - 1704 (Genoa, Italy), sold to Christina, queen of Sweden. George Granville Leveson-Gower, 1st duke of Sutherland, English, 1758 - 1833 and Francis Egerton, 3rd duke of Bridgewater, 1736 - 1803 (London, England) and Frederick Howard, 5th earl of Carlisle, 1748 - 1825 (London, England), upon purchase, Frederick Howard selected this painting as part of his share. 34, 46, 47, fig. Dánae y Venus y Adonis, las primeras 'poesías' de Tiziano para Felipe II, Boletín del Museo del Prado Número Extraordinario. 130, 302n40. [25] See above for the differences to the Prado version. It is dated 1554–1576, and has been in the museum since 1811. After the Orleans Collection was dispersed, it belonged to the artist Benjamin West. Dated c. 1554 and attributed to Titian's workshop, although the master himself may have done the "bold underdrawing", and painted the head of Adonis and Venus' hair. The story turns on the goddess's fears that her lover will be killed, which in fact is what … 3, The Mythological and Historical Paintings (London: Phaidon, 1975), pp. Boy, 40–41, 53–54, the two authors choosing different ends of this range. (Los Angeles: J. Paul Getty Museum, 1997), p. 104, 105, ill. Jaffé, David. The museum says: "Recent conservation work has enabled us to confirm that rather than being a late 17th-century copy, this painting is very likely to have been made in Titian's workshop in the second half of the 16th century." cat. (Stockholm: Kungl. Falomir, Miguel, and Paul Joannides. Dalla Costa, Thomas. Titian rarely comes so close to quoting another work. 256, entry by Francesco Valcanover. The Fashioning and Functioning of the British Country House. Another version with the hat. 17 (app. 18-19, ill. Fage, Gilles, ed. [5] In some versions, the death of Adonis is shown in the distance to the right. Granberg, Olof. 3, 16. 37 (January-April 2000), pp. Padilla, Carmella, and Barbara Anderson, eds. 60. Venezia Cinquecento: Studi di storia dell'arte e della cultura 9, no. (New York: Skira Rizzoli, 2015), pp. But the composition continued to develop and there are details and similarities between the Prado and London versions which are not shared by others. [1] It is unclear which of the surviving versions, if any, is the original or prime version, and a matter of debate how much involvement Titian himself had with surviving versions. [6] In Ovid, it is Venus who leaves first, and Adonis pulling himself away seems to be Titian's invention, for which some criticized him. Prince Livio Odescalchi, died 1713 (Rome, Italy), by inheritance to Baldassare Erba Odescalchi, 1713. 5, pl. Conversely, examples of details not in the Prado version, but in the London and other versions are the string of pearls in Venus' hair, and a larger gap between Adonis' face and the strap over his chest. The height of the Naples Danaë is the same as that recorded for the lost Farnese Venus and Adonis. Art Sales: A History of Sales of Pictures and Other Works of Art; With Notices of the Collections Sold, Names of Owners, Titles of Pictures, Prices and Purchasers. This is a file from the Wikimedia Commons.Information from its description page there is shown below. Eine nackte Schönheit versucht den jungen Mann aufzuhalten, der hier mit seiner Waffe und seinen Hunden zur Jagd gehen möchte. Images and other media are excluded. [6] The Titian scholar Harold Wethey called the hat "ridiculous" and "preposterous", and considered Titian had no hand in the Rome version, a "mediocre school piece".[27]. 32-33, no. Not on view due to temporary Getty closure, Titian (Tiziano Vecellio) (Italian, about 1487 - 1576), Titian (Tiziano Vecellio) and workshop (Italian, about 1487 - 1576). Summary Catalogue of European Paintings in the J. Paul Getty Museum (Los Angeles: J. Paul Getty Museum, 1997), p. 125, ill. Goffen, Rona. Adonis … 48-70, fig. The text on this page is licensed under a, All Getty Research Institute Publications, Conservation Perspectives, The GCI Newsletter, GCI Reference Collection (for materials analysis), Research Assistance at GCI Information Center, Links to Cultural Heritage Policy Documents, Philippe II, duc d'Orléans and regent of France, François-Louis-Joseph de Laborde-Méréville, George Granville Leveson-Gower, 1st duke of Sutherland, Welbore Ellis Agar, 2nd earl of Normanton, James Charles Herbert Welbore Ellis Agar, 3rd earl of Normanton, Edward John Sidney Christian Welbore Ellis Agar, 5th earl of Normanton, Shaun James Christian Welbore Ellis Agar, 6th earl of Normanton, Creative Commons Attribution 4.0 International License, International Image Interoperability Framework (IIIF), Royal Academy of Arts (London), January 2 to March 11, 1882, Palazzo Ducale (Genova), March 20 to July 11, 2004, Museum of Fine Arts, Boston, March 15 to August 16, 2009, Kunsthistorisches Museum (Vienna), October 17, 2017 to January 21, 2018, Städel Museum (Frankfurt am Main), February 8 to June 3, 2018. You can help. Details of the forms and colours in these copies suggest Titian's style from the 1520s or late 1510s, and it is suggested that they record a first rendering of the subject from this period. 248-50, 314n110, fig. Fast and free shipping free returns cash on delivery available on eligible purchase. 2 vols. 2, Marquis du Fresne, "Inventaire des raritéz qui sont dans le cabinet des antiquitez de la sérénissime reine de Suède, fait l'an 1652," Kongl. Venus und Adonis - Tizian von 1000 Schilderijen auf Leinwand & Poster bestellen Gratis Versand "Sehr gut" bewertet Qualitätsgarantie In some areas, as in Adonis’s arm, the artist even painted with his finger. Studies in the History of Art 25. Titian had various opportunities to see versions or copies of this very well-known composition. 15, ill., entry by David Jaffé. (London: Bradbury, Agnew, & Co., 1888), vol. Upload media. 1553, 186 x 207 cm, Prado in Madrid Tags: 16. Jahrhunderts und einer der Hauptmeister der italienischen Hochrenaissance.Zu Lebzeiten wurde er oft nach seinem Geburtsort Da Cadore genannt. Cristina di Svezia: Le collezioni reali, exh. There are only two hounds and no gold vessel on the ground at left. Looking at Narrative Art Lesson 1: What Are Stories? Penny sees it as a workshop replica based on the London version, but "a good case could be made for his intervention" in places, such as "the painting of the tremulous lights" on the cloth Venus sits on. 32-33, no. “Mirror Images and Naked Bodies: Cats. Venus and Adonis Titian (Tiziano Vecellio) (Italian, about 1487 - 1576) 161.9 × 198.4 cm (63 3/4 × 78 1/8 in.) (Norwich: Michael Russell, 1993), p. 151, pl. (Genoa: Palazzo Ducale, with Skira Editore, 2004), pp. (London: R. Ackermann, 1824), vol. [24], The version in the J. Paul Getty Museum, is dated to 1555–60. 43 ("nota de quadri della Regina Cristina di Svetia," around 1703, inventory of paintings acquired by Livio Odescalchi). 147. Marchese Pompeo Azzolino, died 1696 (Rome, Italy), sold to Livio Odescalchi, 1696. Jodidio, Philip. 3, "Inventaire de la galerie de tableaux de la reine Christine a Rome, probablement fait en 1689, peu après la mort de la reine," Archivio Palatino, Rome); p. xcvii, no. 16 Beziehungen. Gervase Jackson-Stops et al., eds. Ziskin, Rochelle. Ricerche di storia dell'arte 54 (1994), p. 12. "Titian's Poesie and Shakespeare's Pictures." [41], Venus and Adonis is a narrative poem by William Shakespeare that was published in 1593 and is probably Shakespeare's first publication. Sutherland, Bruce D. "A Subtle Allusion in Titian's 'Venus and Adonis' Paintings." [6] William R. (Roger) Rearick has suggested that this painting is the first version sent to Philip II of Spain in the 1550s, about whose condition Philip complained on arrival, perhaps mistaking a seam in the canvas for a fold. Biblioteket, Stockholm); p. 118, no. 24, 27, 32-35, 41, 43-45, 53, 57, 64n39, 65n61, figs. 1554 to 1560 or later: Lausanne, Getty, Rome, and Dulwich versions. In all there are some thirty versions that may date from the 16th century, the nudity of Venus undoubtedly accounting for this popularity. She sits on a bed containing her sleeping partner, and twists round to see him, supporting herself on the bed with one arm, and lifting the covers with the other. 134-35, lot 85, ill. Beddington, Charles. This image is available for download, without charge, under the Getty's Open Content Program. Shormishtha Panja et al., eds. Around 1507, he began working with Giorgone on the decoration of the façades of the Fondaco dei Tedeschi, the German merchants’ warehouse in Venice. Raccolta di cataloghi ed inventarii inediti di quadri, statue, disegni, bronzi, dorerie, smalti, medaglie, avorii, ecc. 58 (app. [25], Its provenance begins in an inventory of 1648 in Genoa, and then includes Christina of Sweden and the Orleans Collection. Gerlinde Gruber et al., eds. James Charles Herbert Welbore Ellis Agar, 3rd earl of Normanton, 1818 - 1896 (Somerley, Hampshire, England), by inheritance to Henry Fox, 1896. In Word, Image, Text: Studies in Literary and Visual Culture. Die Geschichte ist vielfach wieder aufgegriffen und weiter bearbeitet worden, insbesondere von Shakespeare. Help us improve our records by sharing your corrections or suggestions. 23. 16-17, ill. Stryienski, Casimir. Titian used rich colors, shimmering highlights, and a lush landscape to create the painting's evocative, poignant mood. Henry Fox, 1st baron Holland, 1705 - 1774 (Somerley, Hampshire, England), by inheritance to Edward John Sidney Christian Welbore Ellis Agar, 1933. Updates and additions stemming from research and imaging activities are ongoing, with new content added each week. It is conceded that the tighter composition is more dramatic, and the "extended" left side of the Prado type has been described as "confusing" in all versions,[25] the "pose and position" of the new third hound at the rear "complicated and difficulty to decipher", and the whole "clumsy as an arrangement". Penny, 280; Barkan, 247–249, 266–268, and see index, on the. [29] This has been damaged and overpainted, but might have been another version kept as a studio model, as with the London version. 58 (app. Patricia Meilman, ed. He carries a feathered spear or "dart", a weapon often used in hunting in the 16th century. Titian (Tiziano Vecellio) (Italian, about 1487 - 1576) 161.9 × 198.4 cm (63 3/4 × 78 1/8 in.) [10], Evidence of the possible earliest version is a miniature painting on parchment at Burleigh House by the English portrait miniaturist Peter Oliver of a lost version owned by Thomas Howard, 21st Earl of Arundel. Shaun James Christian Welbore Ellis Agar, 6th earl of Normanton, born 1945 (Somerley, Hampshire, England) [sold, Normanton sale, Christie's, London, December 13, 1991, lot 85, to Hazlitt, Gooden and Fox Ltd., London, and H. Shickman Gallery.]. cat. Titian's Women (New Haven and London: Yale University Press, 1997), pp. In Cristina di Svezia: Le collezioni reali, exh. Danesi Squarzina, Silvia. Sayer, Michael. 280, 284, no. [19], Writing of this and Titian's other mythological paintings from the same years, Sydney Joseph Freedberg said they "convey the sense that an extraordinary reach of classical expression has been achieved in them, as sensuous experience, as much as that of the spirit and the mind, assumes the stature of idea. Büttner, Nils. cat. [17] This apart, contemporary accounts show the powerful effect these paintings had on male viewers. There is a precise date for only one version, that in the Prado in Madrid, which is documented in correspondence between Titian and Philip II of Spain in 1554. It gives Adonis a jaunty hat with a feather which is also seen in the Dulwich version below, and a reduced (much smaller) version at Alnwick Castle, once thought to be Titian's modello, an idea now discounted. Tizian: Venus Und Adonis - Der Poesia-Zyklus in Seinen Unterschiedlichen Auspragungen Am Beispiel Der Mythologischen Bedeu: Ott, Peggy: Amazon.sg: Books The Disintegration of a Heritage: Country Houses and Their Collections, 1979-1992. Adonis' raised hand is just below the picture edge, so the feathers on the spear are not seen, nor is the chariot in the sky, though the sun bursts through clouds in about the same place. Dargestellt wurde Venus mit Adonis und Mars und ihrem gemeinsamen Sohn Amor oder ihre Geburt aus dem Meer (Sandro Botticelli). "Old Master Successes at Christie's." Sander, Jochen. 102 to 115.” In Rubens: The Power of Transformation, exh. 4, "Inventarium öfver drottning Kristinas forna tafvelgalleri i Rom, upprättadt vid samlingens försäljande till hertigen[-regenten] af Orléans och dateradt Rom 14 Jan. 1721," British Museum, London). The story ends tragically; during the hunt, the mortal Adonis is fatally gored by a wild boar. Cardinal Decio Azzolino, 1623 - 1689 (Rome, Italy), by inheritance to Pompeo Azzolino, 1689. The J. Paul Getty Museum Handbook of the Collections. (Rome: Fondazione Memmo, with Mondadori Electa S.p.A., 2003), p. 73, no. 92.PA.42 Open Content images tend to be large in file-size. [31], The National Gallery has a small Boy with a Bird which is effectively the detail of Cupid, except lacking his wings. (Rome: Fondazione Memmo, with Mondadori Electa S.p.A., 2003), pp. 1542–46: Newly promoted Moscow version, if so the first of the Prado type. Granberg, Olof. mid-1540s: Lost version for the Farneses. (Los Angeles: Getty Conservation Institute, 1995), pp. Es gehört zum sogenannten Prado-Typus, welcher sich in Einzelheiten von dem sogenannten Farnese - Typus unterscheidet. 10 (Spring 1992), pp. 17 (app. Although not certainly documented until 1626,[11] it is generally regarded as the painting documented as despatched to King Philip II of Spain in London (he was then married to Mary Tudor, and in fact not yet King of Spain, but King of England) by Titian in September 1554, as announced in a letter which survives. Öl auf Leinwand. It was selected by a member of the consortium, Frederick Howard, 5th Earl of Carlisle, as part of his share, although he did not keep it long. [9] They are in most respects the same, but the Farnese type has a tighter crop on the subject and a wider shape, losing most of the sky. 71, ill., provenance by Piero Boccardo, entry by Massimo Palazzi. (Washington, D. C.: National Gallery of Art, with University Press of New England, 1989), p. 152. Wethey, Harold E. The Paintings of Titian. 4, "Inventaire de la galerie de tableaux de la reine Christine a Rome, fait en 1721," British Museum, London). cat. Tiziano Vecelli. However it is known from a "very careful drawing" (1762) and subsequent engraving (1769) by Robert Strange. Supporters of the Oxfordian theory of Shakespeare authorship argue that the real author of Shakespeare's works, Edward de Vere, 17th Earl of Oxford, saw the Rome version at Titian's studio in Venice on his travels in Italy in 1575–76, and based his poem on it. mid-1520s: Putative lost original of the Farnese type, with no spear. 44. (Los Angeles: J. Paul Getty Museum, 2007), p. 101, ill. Ilchman, Frederick, et al., eds. [15] A later version of Danaë is now shown in the same room in the Prado, with other Titians. It was never catalogued as by Titian himself at Vienna, and was probably a studio copy of a lost original. Venus and Musician is another nude subject with several versions, in two main types, one with an organist and one with a lutenist. Exhibition of Works by the Old Masters, and by Deceased Masters of the British School: Winter Exhibition, Thirteenth Year, exh. (Paris: Grand Palais, 1993), p. 673, under no. It was one of thirty-eight paintings from John Julius Angerstein's collection acquired by the British government in 1824 for £57,000 which formed the original nucleus of the National Gallery. cat. 19 (Verzeichnis der Gemälde aus der Galerie Orleans). It is now agreed that Philip's original version is now in the Wellington Collection, see Falomir video. We know that Philip's version was intended as a pair with his version of the Danaë, which was also a changed and extended version of a subject first painted for the Farnese (the version now in Naples). As noted by Erwin Panofsky, the poem certainly has similarities with Titian's painting, general ones in that Venus has difficulty attracting the very young Adonis, and in specific details.
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