#artist is titian-

[diioonysus]

ecce agnus dei (behold the lamb of god)

[thepleathersfine]

Study of “Christ and the Good Thief” by Titian (with Gestas added) Very clearly not what I usually do but it was a gift

[life-imitates-art-far-more]

Titian (c. 1488/90-1576) "Portrait of Vincenzo Mosti" (1520) Oil on canvas Renaissance Located in the Galleria Palatina, Florence, Italy

[the-evil-clergyman]

Bacchus and Ariadne by Titian (1520-23)

[4h20art]

Painting: Madonna of the Cherries

Follow me on Instagram! @4h20.art

[thecolorsfucked]

god everyone was fucking inspired by titian bffr that means nothing go deeper

[gravehags]

something very personal to me is how titian loved a good fat woman. like that’s me i see in these pieces. nothing beats that feeling.

[pathofregeneration]

Portal of the Virgin, Notre-Dame de Paris Cathedral — Paris, France

* * *

Letter to a Modern Artist, part I

“I have been meaning to write: I have circled the writing pad as the swans circled Delos; I have hovered above the white paper as the Eagles hover above the compound in the Philosophic Egg, hoping for a birth of the spirit that drives one to get things done. The trouble with me is I have always got my nose buried in heart and mind consuming stuff, and when I finallly look up whoa! It's already spring. And here's me thinking it's only 3 a.m. I have obviously lost the ability to tell late from early. Do you know where early ends and late starts?

I am aware that you consider me particularly ignorant on the subject of Art, and I really do not take offense at such an evaluation, as it is probably more right than wrong. But the works of Art I like are not ignorant and the beauty of them are not in the least affected by my ignorance, but, as I look upon them, find myself washed clean of the leprosy of false art, with which the world is filled to brimming. Perhaps it would be useful at this point to give you a list of small selection of the works I value, because, God forbid, it might be Andy Warhole for all you know, and unless you know what I value, you cannot know where my heart is. If Earth was heaven, I should live in a Gothic Cathedral with great rose windows and make a portal just like the Virgin portal at Notre-Dame. The doors would be Ghiberti's and the ceilings Michelangelo's. On the walls I'd hang Leonardo's St. John and the Annunciation, Poussin's Et in Arcadia Ego (Les Bergers d'Arcadie. Later version of the Louvre), also Poussin's Orpheus and Eurydice. Titian's Bacchus and Ariadne, and The Entombment I'd fetch from the Louvre. The same gallery would also suffer the loss of the Silver Statue of the Virgin and Child and Amiens Cathedral would be minus their Madonna. Bernini and Michelangelo would supply the centerpieces and Cellini the golden nic-nacs. The Greeks would be useful as tile layers, but hey, who would object to a few Romans lending a helping hand? I should ask God to plant me a garden but this time without Adam and Eve, those greedy fruit eaters.

All these great works are full of symbolism for those who care to read them. They are hieroglyphs from God, created in stone or on canvas by the Servants of the Lords of Light. And I truly believe that to be a true Artist is to be a Servant of the Higher Powers and of Truth; for to be otherwise is to be a creator of wallpaper—or of shelf-fillers—or of infernal cacophony.

But the pure Beauty of Great Art lifts the thoughts away from earthly cares and woes, and brings Grace to the inner minds of those who look upon them with eyes that see; clarifying the sight until there are no more boundaries and no distance. I see these Works as the materialized 'shadows' of Holy Inspiration, earthly representatives of what the great Artist sees in his enlightened Vision, and which he can only reproduce as best he can with whatever talent and sweat is his. (I can only imagine that the true Artist will never be satisfied with the reproduction of his vision, for no work of Art can ever tell us exactly what those who wrote or painted saw or heard or felt in their visions. And I speak here only of great works, not of the twaddle poured out by would-be artists.)”

— Edda Livingston

[sheltiechicago]

The Flaying Of Marsyas

Artist: Titian | Year (completed): 1576 | Period: Mannerism

Iris Murdoch, a novelist, once proclaimed The Flaying of Marsyas the most outstanding work of art in the history of Western culture. Not much information is known surrounding the painting. To whom the late Titian masterpiece was intended, whether it was finished (although it is signed), and whether it was changed after the artist's passing are all unknown. It illustrates Ovid's tragic narrative of the satyr Marsyas, who lost a duel with the deity Apollo in a contest and was sentenced to a horrible demise. The artwork is crammed with a large cast of creatures and people, some taking part in the horrifying, nauseating rite of painstakingly removing flesh from Marsyas’ bones while others are just contemplating. The painting appears incomplete or possibly abandoned when viewed up close, as it's incredibly messy and agitated. There's pain, passion, and brutality everywhere.

[diioonysus]

"this is our time, no turning back, we could live, we could live like legends."

[egoschwank]

al things considered — when i post my masterpiece #1127

first posted in facebook october 29, 2022

giorgione -- "sleeping venus" (ca. 1520)

"he was one of the greatest of all venetian artists, but who was giorgione?" ... john-paul stonard "the painting, one of the last works by giorgione (if it is), portrays a nude woman whose profile seems to echo the rolling contours of the hills in the background. it is the first known reclining nude in western painting" ... wikipedia "scarcely five paintings can be ascribed with absolute certainty to [giorgione's] hand. yet these suffice to secure him a fame nearly as great as that of the great leaders of the new [venetian] movement" ... ernst gombrich "the 'sleeping venus' [...] is a painting traditionally attributed to the italian renaissance painter giorgione, although it has long been usually thought that titian completed it after giorgione's death in 1510. the landscape and sky are generally accepted to be mainly by titian. in the 21st century, much scholarly opinion has shifted further, to see the nude figure of venus as also painted by titian, leaving giorgione's contribution uncertain" ... wikipedia "he seems more of a myth than a man. no poet on earth has a destiny to compare with his. almost nothing is known of him, some people even doubt his very existence [...] yet all the art of venice seems inflamed by his revelation" ... gabriele d'annunzio "giorgione MUST have had a helluva public relations agent, no?" ... al janik

[hzaidan]

10 Works, The Art of War, Franz Ritter von Stuck, Eugène Delacroix and Titian's The Abduction of Alma, with footnotes

After Eugène DelacroixThe Abduction of Alma 1AI Generatednightcafe As Alma walks through the market she senses that she is being followed by group of people. She decides to get away but the faster she moved they faster they came. She finally decides to make a run for it… Please follow link for full post

[armchairarchivist]

Titian, Portrait of Antonio Anselmi

[savage-kult-of-gorthaur]

NO LESS THAN THE PURSUIT OF THE DIVINE IN THE FACE OF CARNAL TEMPTATIONS.

PIC(S) INFO: Resolution at 3051x1837 -- Spotlight on a piece titled "Venus and organist and little dog," part of the "Venus with Musician" painted series by Italian painter, drawer, architectural draftsperson, and printmaker, Titian (1490-1576). Now housed at Museo Nacional del Prado, Madrid, Spain.

PIC #2: Resolution at 1888x1272 -- "Venus with an Organist and Cupid," c. 1555. Oil on canvas. Artwork by Titian (Tiziano Vecellio), born in Pieve di Cadore, Belluno, Veneto (Italy), 1490 - Venice (Italy), 1576.

OVERVIEW: "Titian painted five images of Venus and music, but those five variations on a single theme were not made for the same client, nor intended to be exhibited together. Set in a villa, they show Venus reclining before a large window. At her feet, an organist (in the versions at the Museo del Prado and the Staatliche Museen in Berlin) or a lutenist (at the Metropolitan Museum of New York and the Fitzwilliam Museum in Cambridge) play their instrument as they contemplate the goddess’s nudity.

Meanwhile, she looks away, distracted by the presence of a dog, or of Cupid. These works’ typology indicates they date from the final stage in the development of one of Titian’s subgenres: the reclining female nude, which began with his "Sleeping Venus" (Dresden, Gemäldegalerie) and continued with the "Venus of Urbino" (Florince, Galleria degli Uffizi)."

-- MUSEO DEL PRADO

OBJECT TYPE: Painting

GENRE: Mythological painting

Sources: www.museodelprado.3051s/the-collection/art-work/venus-with-an-organist-and-cupid/b36421df-4d51-43b6-911c-c0517377e48d & Wikimedia.

[dcxdpdabbles]

DCxDP fic: Copyright

The first time it happened, the Waynes were walking around a street market, glancing at the art, when a woman wearing a Red Hood jacket and drinking out of a Red Robin coffee traveling mug struts by.

The heroes stop to stare, more in shock, to see how well the two items are done, which grabs her attention.

She grins at them, waving her cup. "You guys like the bats? You should check out both nineteen. He sells all official stuff."

"Official?" Dick repeats.

"Yup. He has it all trademarked." She says, pulling out a business card. She hands it to Dick with a smile before bidding everyone goodbye. Babs reaches up, snatching the card from Dick's slack hold, pulling out her phone to research the name.

Babs hisses through her teeth when she finds out that, yes, whoever the artist is, they did, in fact, trademark their designs. But not only did they cover their art, but they also put a copyright over the idea of all the Gotham heroes.

"He copyrighted Batman!?" Tim demands, reading over the baby's shoulder. "The symbol, the technology, the fighting moves- his shadow!? How!?"

"No one else did," Bruce answers with an amused smile. "He probably realized this and decided to slap one on while he had the chance."

"He can't do that!" Tim shouts. "Batman should sue him."

"Kinda hard to take someone to court regarding vigilantes." Dick shrugs his shoulders. "The Bats are illegal themselves, and they didn't copyright before this guy did."

"He owns Robin!" Jason announces with a laugh.

"That son of a-!!" Dick shouts, twisting around and stomping down the booths. People who recognize them jump out of the way for the raging celebrity. The rest of the Waynes were right behind him, a few slightly surprised by the pure anger on the eldest face.

Not Bruce or Jason. They see and personally know Dick's rage.

"How dare he try to claim Robin!" The eldest hisses, rounding the last row and stumbling to a halt. The rest are unprepared for his sudden stop, so they stumble into his back.

Grunts of pain and slight soft swears are heard as the group tumbles over onto the ground. Dick is unfortunate enough to end up on the bottom, feeling the total weight of his family. He's pretty sure Bruce's elbow was digging into his lower back, and Tim's head had slammed on the back of his neck.

Maybe Alfred was right about them going on a stricter diet. Ouch.

"Get up this instant. We are ashamed of the family name." Damian hisses from where he is standing above them. Of course, Cass is next to him with a cheerful smile.

Both of them had danced out of the collision in a way that appeared accidental to the untrained eye. Bruce likely let himself fall because he enjoyed causing scenes as Brucie Wayne, no matter how much he denied it.

"Dick." Jason groans, taking the hand Cass held out for him with grace. "Why did you stop?"

"Look at both nineteen." Dick hisses feeling Tim delibertly dig his elbow into his back. His brother offers him a sweet, innocent smile that does not hide the anger in his eyes. Sometimes Dick wonders if anyone can spot the pettiness in Tim or if his madness hides it.

"Oh," Steph whistles when she hopes off of Bruce to stare at the booth owner. "Yeah, I get it. He's hot"

"No!"Dick shouts, rising up from the ground. There is horror in his voice that makes the Bats all tense. "No, he is not hot. That's disgusting Steph. Look at him. Tell me who's face that is."

It's Bruce who spots it first. "I have more chidlren?"

Damian gasps. "Father, you have more blood, children!? How did you recognize him, Richard?"

"He looks exactly like Bruce at that age." Dick hisses, leaning closer. "The Titians and I met Bruce when he was sixteen during a mishap with a time wizard. I may have pretended to be a butler sent to Wayne Manor for training to get access to the cave. The cave was the location that we had to use to go home."

"That was you?" Bruce demands. "I thought that was an idiot who was in love with Alfred."

"Ew, why?"

"You kept complimenting his cooking, doing chores for him, and trying to take him out for a fun night in town!"

"Well, excuse me for wanting Alfred to have a week's vacation from the broodiest and most troublesome teen!" Dick shouts, throwing his arms in the air. "You were literally hissing at him whenever he told you to bathe!"

"I didn't like water back then!"

"Hey guys?" Jason cuts in. "Tim left."

Both men swing to stare at the second eldest with twin looks of confusion. "What?"

"Tim. He's over there. Yelling at kid-Bruce." Jason points to where a crowd is slowly building around them. Tim is in a screaming match with the owner. There is a lot of hand-waving, faces turning red in anger, finally ending with the owner throwing himself over the Red Robin merchandise with a protective little snarl.

Tim reels back and punches him in the face.

"Oh shit," Steph sighs, running towards the both as the owner is quick to tackle Tim. The Waynes find it odd that they must show off their bat training to break the two apart.

And that's how the Waynes get on the front cover of almost all media coverage that tells the story of Danny Fenton (Wayne). Bruce's second secret love child with a married woman (Jack and Maddie had briefly opened up about their marriage back then, so neither was mad) and who had met his biological father after a public fight with his adoptive brother.

Danny would like to go on record as saying that he was unaware of why Tim cared so much that he saw a fantastic business opportunity and took it. It's not like Batman could challenge his copyrights, and if the crimefighter came for his kneecaps over it, he would find himself against the Ghost King.

True the Ghost King in name only, but the Bat didn't know that.

Danny will be honest if asked how he felt about finding out Bruce Wayne is his father. He already knew. When he was around twelve, his parents sat him down and told him. It was how his dad explained where babies came from, the genuine Welcome To Puberty! Talk and what open marriages meant—which was as horrific as it sounds—and they never bothered with it again.

Because Jack Fenton had been the one to raise Danny, he had been the one who held him after his mom gave birth and had been the one who loved him with all his heart despite not being blood-related.

He had a bigger reaction to having to fist-fight Tim Drake over the fact he made Red Robin the official LGBT+ member of the Bat family because he is bi, no matter how much Tim insists Red Robin was straight.

It sounds to him like Tim is deep in the closet and in denial. Bisexual Red Robin forever!

[wutheringheightsfilm]

i didn't get a minor in art history for no reason, so let's talk about

The Adoration of the Shepherds with a Donor by Palma Vecchio, c. 1520-1525 (held at the Louvre under the French name L'Adoration des bergers avec une donatrice, here's its collection details)

What's fascinating about this painting (done in the very very late High Renaissance to early Mannerism) is that the identity of the commissioner of the painting is the one kneeling to the far right, who Armand in the episode says is modeled by him, is actually unknown. (So that makes it very handy for the show to claim it's Armand without actually being inaccurate or anachronistic)

What this depicts is the Christmas story (though yes, I know, it doesn't look like Christmastime in the painting) where the shepherds pay Jesus a visit after he's born. There's a lark sitting in the window on the left, which often symbolizes rebirth, and there's a dog all the way to the very right, which usually symbolizes loyalty.

Of course, within the IWTV verse, the choice of using this painting (which doesn't have much, if any literature on it by itself--maybe because for a long time it was attributed to the painter Titian by mistake instead of Vecchio) is extremely fascinating to me. There's a lot of dimensions here: most notably, as another user I saw pointed out, Armand was the model for this, and the painter (Marius de Romanus in the show, Armand's maker) whitewashes Armand. Now, Armand is immortalized in room 711 in the Louvre forever as a 20 year old, looking nothing like himself, his identity effectively completely erased, while thousands of people pass and see this painting every year.

It raises a lot of poignant questions, also: since the commissioner of real life (who is the real life model) doesn't exist in IWTV, what is the motivation for Marius to paint Armand in a Christ scene? Because obviously, Armand would not have commissioned this painting. What spurs him to do that? Since the real life artist, Vecchio, was very influenced by Titian at the point when this painting was made, was Marius also? I really do want to know the team's thought process behind choosing this painting, because it's endlessly interesting to me. It's definitely one of the lesser known works in the Louvre, even just a cursory glance over JSTOR barely has any information. I might literally email my art history professors and ask if they have any material on this or Vecchio because I'm so intrigued... anyone else wanna discuss <3?