LEADER 03858nam 2200577 450 001 9910787632703321 005 20230803031931.0 010 $a1-78023-227-6 035 $a(CKB)2670000000494165 035 $a(EBL)1575951 035 $a(SSID)ssj0001130371 035 $a(PQKBManifestationID)11732425 035 $a(PQKBTitleCode)TC0001130371 035 $a(PQKBWorkID)11111775 035 $a(PQKB)11098539 035 $a(MiAaPQ)EBC1575951 035 $a(Au-PeEL)EBL1575951 035 $a(CaPaEBR)ebr10817881 035 $a(CaONFJC)MIL550478 035 $a(OCoLC)865333857 035 $a(EXLCZ)992670000000494165 100 $a20131226h20132013 uy| 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aTitian $eand the end of the Venetian Renaissance /$fTom Nichols 210 1$aLondon, UK :$cReaktion Books,$d[2013] 210 4$dİ2013 215 $a1 online resource (257 p.) 300 $aDescription based upon print version of record. 311 $a1-78023-186-5 320 $aIncludes bibliographical references and index. 327 $aCover; Titian and the End of the Venetian Renaissance; Imprint Page; Contents; Introduction; Titian's Last Painting: The Sight of Death; An Inglorious Passing; or,The Difficult Case of the Pieta?; How 'Venetian' was Titian?; Surrogate Monuments to the Leader of a Tradition; One: Art as Appropriation: The Rise of Titian; Giovanni Bellini: The Model Venetian; Bellini and Titian: Master and Pupil; Titian and the Venetian Istoria; Titian and Giorgione; Giorgione and Titian's Early Portraiture; The Early Mythologies; Titian Repaints Palma Vecchio; Two: Remaking Tradition: Icons and Altarpieces 327 $aAnachronic Titian The Modern Icon; The Cultural Dynamics of Space in Two Altarpieces for Venice; Private Values in a Public Picture Type; Altarpiece or Artwork?; Three: Portraiture and Non-Venezianita?; Portraiture in Renaissance Venice; Titian's Portraits to 1530: Accommodation of the Courts; Habsburg and Related Portraits of the 1530's; Historical Portraits; Natura Potentior Ars; Four: Sacred Painting, the Poesie and the Late Style; Titian as Tradition; Titian's Hybrid Poesie; Two Late Mythologies; Early Responses to Titian's Late Style; The Late Style in Critical and Historical Perspective 327 $aFive: Titian and Venice: Surviving the Father of Art Patrons and Prices; Titian Versus the Rest: A Literary Self-image; Pictor et Eques: Titian's Self-Portraits; Images of Succession; Images of Attachment; The Darker Side of Titian; or, The Anti-Image; Venetian Responses to Titian: Veronese and Tintoretto; Conclusion; Titian and the End of the Venetian Renaissance; Titian in Disguise; References; Bibliography; Acknowledgements; Photo Acknowledgements; Index 330 $aTitian is best known for paintings that embodied the tradition of the Venetian Renaissance-but how Venetian was the artist himself? In this comprehensive new study, Tom Nichols probes the tensions between the individualism of Titian's work and the conservative cultural and political mores of the city, revealing his art to be original inventions that undermine the traditional self-suppressing approach to painting in Venice. Rather, Nichols argues, Titian's works reflected his engagement with the individualistic cultures emerging in the courts of early modern Europe. Ranging 606 $aPainting, Italian$zItaly$zVenice$vExhibitions 606 $aPainting, Renaissance$zItaly$zVenice$vExhibitions 615 0$aPainting, Italian 615 0$aPainting, Renaissance 676 $a257 700 $aNichols$b Tom$f1958-$0754607 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910787632703321 996 $aTitian$93849820 997 $aUNINA