Guide to the art gallery of the Imperial Hermitage. King of painters Titian Vecellio Paintings of recent years

29.06.2020

Titian's painting "Carrying the Cross" entered the Hermitage from the Barbarigo collection in 1850. It is known that in the Prado Museum in Madrid there is another version of this painting, which is considered an undoubted work of Titian. In “Carrying the Cross” from the Hermitage, the artist very closely repeats the characters and the main composition of the Madrid painting, but reworks the details and significantly increases the height of the format.

This, apparently, laid the foundation for the opinion of some Western European researchers that the Hermitage copy is a copy or imitation of the Madrid one. 1 This opinion is confirmed by the well-known lack of integrity and disorganization of the composition of the Hermitage painting. This probably partly explains the generally rare mention of this version of “Carrying the Cross” in Western literature and catalogs of Titian’s works. A very modest description of it is given in the catalog of paintings of the Barbarigo gallery of 1845.

M. V. Alpatov in “Etudes on History” Western European art“affirms the unconditional authorship of Titian and, based on an analysis of painting and the composition of the painting, comes to many ideological and formal conclusions that define Titian’s work and characterize his time. 2

The Hermitage painting “Carrying the Cross” was painted on canvas and duplicated (that is, pasted onto a second canvas to strengthen the original). 3 The size of the painting is 89.1 X 76.5 cm (ill. 15). However, even with a superficial glance at the picture, it is clear that it was not painted on a solid canvas, but has attachments: along the left edge of the picture there are two attachments (1 and 2), on the right there is one (3) and double ones at the top and bottom, with longitudinal seams in the middle ( 4 and 5). Horizontal attachments run across the entire width of the picture, overlapping the vertical ones. The first attachment, unlike the others and the central part, has a strongly pronounced diagonal structure of the canvas. Upon closer examination, there is a noticeable sharp difference in the nature of the painting on attachments 2-5 and on the main part of the canvas. The light stripe at the bottom of the composition is not defined in space and stretches monotonously in the plane of the picture. The paint strokes lose their typical 16th-century appearance. concreteness and vaguely blur the form. On console 1, the shapeless structure of the left side of Simon’s hand and sleeves, as well as the sharp inharmonious blue, red and white colors on the collar of his clothes. Further, there seems to be an incomprehensible blue spot to the right of Simon’s head. If it refers to the left shoulder, then the position of the latter clearly does not correspond to the right. The shape of the cross is greatly distorted, expanding unjustifiably at the top and especially at the left ends. The right border of Christ's hand, despite the large free space to the edge, is clearly cramped and forms a straight vertical line along the entire length from the elbow to the fifth finger.

15. Titian. Carrying the cross. Hermitage

16. Original format of the painting

17. Titian. Carrying the cross (photo in ultraviolet rays)

18. X-ray diagram

19. X-ray

20. X-ray II

21. X-ray III

22. X-ray IV

23. X-ray V

24. X-ray VI

25. X-ray VII

26. Titian. Carrying the cross. Madrid

27. Titian. Christ Almighty. Hermitage

28. Drawing of the original image in the painting “Carrying the Cross” from radiographs

29. Titian. Christ Almighty. Vein

Scheme of consoles

All consoles are covered with a large number of altered restoration records; The rest of the picture is also heavily written. These recordings were made at different times, and the earlier ones lie deep under a thick layer of later varnish. When the picture is illuminated with ultraviolet rays, the upper layers of the recordings appear sharply as dark spots 4 (Fig. 17). Along with the recordings, the painting on consoles 2-5 also darkens. The main part and prefix 1 are much lighter, since they are covered with a common, highly luminous varnish, under which the lower, earliest records are also hidden. Such a difference in luminescence allows us to establish that this varnish is of older origin than consoles 2-5, on which it is absent.

X-rays taken from the painting reveal it internal structure 5 (ill. 18-24). At the same time, an image of a completely different figure is revealed (the face above the head of Christ), painted earlier on the same canvas (ill. 24). The original format of the picture without any prefixes is quite obvious. Its left border is completely preserved. Even the edge of the old edge (10-11 mm wide), which was previously folded onto the stretcher, is turned around; it lacks the original primer and painting, and the holes from the nails that held the canvas are clearly visible, located 5-8 mm from the border of the format. The bends of the threads formed when stretching the canvas onto a stretcher are sharply expressed. The remaining three edges of the painting are cut along the old fold of the canvas or very close to it (no further than 1-2 mm), as indicated by the pattern of thread stretching, similar to the bends on the preserved left edge. The proximity of the nails is clearly felt.

The bending of the canvas threads is formed only when it is initially stretched onto the stretcher before the primer. The ends of the arcs correspond to the location of the nails on the stretcher. Typically, nails are driven approximately into the middle of the thickness of the bar and, thus, are no closer than 5-15 mm from the edge of the picture (depending on the size of the canvas). The curvature and severity of the bends of the threads, the width of their spread from the edge depends on the density of the canvas and the force of its tension on the stretcher. With uniform tension, the nature of the curvature of the threads on all edges is approximately the same, especially with a format close to square. If there is a significant difference in the size of the painting or if the canvas is stretched more strongly in one direction, the bends of the threads will coincide on opposite edges. Thus, by comparing the nature of the stretching of threads on the cut edge with another, preserved one, it is possible to quite accurately establish the position of the nails, i.e., the lost original border of the picture.

After applying the primer and especially the colorful layer of painting, the threads of the canvas are firmly connected to each other. Only with a very large force can the threads be pulled out, but weaker; it will certainly be accompanied by tears of the same shape in the paint layer and primer. This is not observed at all in “Carrying the Cross.” Thus, it is completely impossible to assume that the original format of the canvas was later cropped by someone. All attachments are sharply separated. It is obvious that they are attached after the initial preparation of the canvas. The only question is, were they made by the author in the process of changing the composition or added later?

Attachments 2-5 are made of one canvas, similar in structure to the main one. Along their inner edges there are remains of some old painting. Longitudinal seams on horizontal attachments connect strips that previously had independent tension, since on internal parts the seam has bends in the threads that do not coincide with the outer ones. The connection of attachments 2-5 with the central part of the picture and with attachment 1 is made end-to-end, without a seam. This is only possible if they are simultaneously pasted onto a duplicating canvas, which is unlikely for the author. The edges of both the extensions and the center, cut in a straight line, are frayed and torn in many places. In this case, the damage on the edges of the central part does not coincide with the damage on the attachments.

Thus, it can be established that the edges of the central part of the picture and attachment 1 (upper corner) had time to decay before attachments 2-5 were attached to them. On the other hand, the material of the latter was also already significantly worn out, even when they were part of some completely different picture.

When comparing the texture of the painting and the ground on attachments 2-5 and on the main part, their sharp difference is clearly revealed, especially noticeable on the right attachment 3 - radiographs IV-VI (ill. 22-24).

Examining the painting on attachment 2 through a microscope, you can see many grains of glue protruding from under the ground, which is not observed at all in the main part. Instead of a number of layers of painting on the main canvas, on the attachment there is a rubbing with a cloudy mixture of paints, the structure of the pigment grains being the same as the paints of many upper restoration records and typical of late painting. Only in some places on the cross are some remnants of an old gray-pink painting visible from the depths. Similar phenomena are observed on consoles 3-5.

From all that has been said, we can confidently establish:

2. The material for consoles 2-5 was canvas from some old painting (probably an edge). Their wear and tear was deliberately used to make them more like the original.

3. As a result of these additions, the following were added to the painting: part of the background and the entire lower light stripe, the border of which coincides with the lower edge of the original (with the exception of the right edge, where the late registration, up to 5 mm wide, clearly lies on top of the old painting); The cross and the hand of Simon are enlarged, the boundaries of his head and the hand of Christ are added.

Prefix 1, as already mentioned, was painted on a completely different canvas, with a diagonal thread. A similar special picture canvas was used by many Italian artists XVI century, including Titian. 6 It is covered with a thick layer of varnish that is the same as the main part of the painting, on top of which are restoration records from the time of consoles 2-5. The painting on console 1 is badly damaged. It is better preserved on Simon’s collar and ear, and in some places on the cross. The texture and composition of the paints are older and closer to the paints on the main canvas.

However, radiographs I, II, III (ill. 19-21) show that attachment 1 was attached to the main part without a seam; there are no traces of tension on it, when its left edge served as the edge of the entire picture. Consequently, it was glued to the duplicating canvas, which was already attached to the stretcher. And this is again unlikely for the author.

The left edge of the main canvas, first folded onto the stretcher, was unbent. In the upper part and at the places of the nails it is already significantly torn. The bent part, naturally, did not have the original soil; it is also absent on right side attachments (dark band on radiographs). After all, the canvas on the attachment (thanks to the diagonal fabric) was much thicker than the main one, and it was not yet primed on the bent edge, so the edge of the attachment had to be made thinner to make the joint even, and then cover it with a general layer of chalk primer. At the same time, on the bent edge of the main canvas, the diagonal texture of the attachment is imitated with soil.

On the X-ray photographs of the attachment there are light spots—whitening layers of varying thicknesses, some of which (in the middle) are not at all justified by the composition of the picture, and for some reason they completely disappear below. This suggests that the canvas for attachment 1 was also used as an old one, which is quite incredible for the author, who, in order to attach this attachment, would have had to duplicate, perhaps, the entire picture.

Examining the structure of the paint layer on attachment 1 through a microscope and comparing it with the main picture, it is clear that the paint materials themselves are in most cases very similar. However, the choice, order and technique of applying them differ significantly.

Basically, the structure of the painting in the central part of the picture seems to be as follows: a dense white ground, through which the canvas does not show through anywhere, covered with an overall thin layer of dark brown (almost black) paint, without individual grains. Obviously, this is either a toning of the ground, or, more likely, a dark underpainting of the original image. The light and dark modeling of the head, visible in X-ray VI (Fig. 24), is also visible in the breaks in the upper layers of paint. This first image appears to have been left in a monochrome underpainting, since no other colors except black, dark brown and white were seen in this layer.

Further, the lower layer is either covered (mainly in the central part of the composition, where the first image was) also with a brown, but lighter, opaque thick mixed layer, or used as a dark underpainting and the first preparatory colors of the upper image are directly applied to it. Then come the main halftones of local colors and finally the final highlights and glazes. In any case, the final image has a dark, warm preparation typical of Titian's late painting.

In all the dark, liquid-painted places (especially around the head of Christ, on his neck and hair, and to the right of Simon’s head), there are wide and deep breaks in all the paint layers down to the ground, a characteristic and repeating shape, clearly visible in the painting and in x-ray photographs. The ruptures were apparently caused by the layer of the original painting and were the reason for numerous restoration records.

All light colors are laid down in a dense layer of thick, opaque paint that increases towards the light. The dark lower underpainting shows through almost nowhere. When modeling the body, the colors softly, barely noticeably move from tone to tone, softened even more by the upper glazes. Impasto painting has a highly developed network of craquelures.

On console 1 the ground is also white, but thin, uneven and torn, often broken on the protruding grain of the canvas; fibers of threads and particles of glue are visible (these disturbances are clearly visible on x-rays and resemble the state of a scraped or sanded old canvas). In most cases (except for shadows), local halftones or color preparations lie directly on the white ground. The layers are equally thin everywhere (except for highlights), randomly torn. The lower layers, soil and canvas are visible. Craquelures are less pronounced. The halftones are sharply separated from each other both in terms of aperture ratio and color shade. One can feel some overly intense coloring of them. There are fewer glazes and they are not strictly systematic.

Thus, both the primer and the paint application system, and their current state on the main part of the picture and on console 1 differ significantly. Unfortunately, the junction of the attachment with the main canvas is badly damaged and recorded and nowhere makes it possible to trace the direct transition of the painting layer through it.

The tree of the cross above the second and third fingers of Simon (on the main part of the picture) is painted on the first dark layer of a lighter opaque brown paint(a mixture of a type of dark ocher, cinnabar, white and black); the top is glazed with transparent orange-brown. On the console, a layer of cinnabar on a white ground is covered with a translucent mixture of light ocher with black and red-brown paints. The final color turned out to be quite similar, but the composition of the paints was different, and the order of application of the colors was exactly the opposite. On the console they are probably dictated by the desire to repeat an already existing color effect, but in the main part they follow common system letters pictures.

Painting diagram to the right of Simon's head<

To understand the meaning of the blue flowers on the clothes near Simon’s forehead, it is especially important to resolve the question of their character and structure. To do this, it is necessary to consider the entire area of the background between Simon's face and the cross. On top of the lower dark brown layer, in the right corner near the cross - section 1 (see diagram), lies a thick mixed layer of lighter brown color, increasingly warming as it moves to the left and reaching red in section 2 (like red ocher) and in section 3 - until cinnabar. Site 4 is again a cooler dark brown, bordering site 3 along an unclear but strictly horizontal line. Section 5 - black registration on a brown underpainting, also clearly demarcated on the right; there are absolutely no red colors in it. Areas 1-5 on top are painted with a transparent almost black-brown glaze (similar to the layer of the first image), from under which the lower colors softly show through.

The blue tones - area 6 - also lie on a deep brown layer. First, a thick, pasty mixture of ultramarine and white, in the highlights reaching pure white. Ultramarine is quite fine in the mixture. On top there are intensive glazes with pure ultramarine, and here its grains are much larger. Ultramarine settles abundantly in the depths of the canvas relief and brushstroke, its individual grains sparkle with a rich blue color, and the light tips softly protrude. Ultramarine glaze descends below area b, passes to the brown layer and for some time emphasizes the right border of area 5. Here it is already perceived as a dark greenish tint. The overall top brown glaze of the background extends to the blue tones. It almost completely covers area 6 on the right, filling the deepest recesses of the paint.

Thus, these blue tones, intertwined with layers of paint in neighboring areas, are contained between the first dark brown layer (perhaps the original image) and the upper general brown glaze. This completely establishes their authenticity in the area to the right of Simon’s head.

A similar system of modeling blue colors, the choice of the best coarse-grained dark ultramarine for glazes and finer ones for light mixtures are typical of Titian, and in general of Italian painting of the late 15th-16th centuries. and are based on precise knowledge and ability to use the paint material most effectively.

The same large ultramarine is observed in the fine glaze on Christ's clothing (along with a large amount of a lighter, greenish tint, of poorer quality, used for gray clothing), as well as on other works by Titian in the Hermitage (the sky in the painting "Penitent Magdalene"; especially clearly a similar pattern of blue color can be seen on the clothing of “Christ Pantocrator”). The blue on the console is of a different nature. The mixture lies directly on the white ground (in the highlights). There are very few glazes. Ultramarine grains are equally small everywhere and do not give the deep sparkle of their crystals at all. The brown in the shadows is not glazed on top, but only laid underneath on the ground. There is no craquelure in the paint layer. The system is obviously alien to both this painting and Titian’s painting in general.

Examining the painting, nowhere was it possible to detect the presence of layers common on the main canvas and on the attachments (except for later restoration records), indicating some kind of organic connections between them into one whole system of the painting. It is absolutely clear that the main part was absolutely finished, and then added to it, without any constructive alterations of the whole, prefix 1, and later the rest. At the same time, the painting on them was clearly adjusted to the previously existing one. It is difficult to imagine such a mechanistic technique from the author. 7

Thus, summing up all the data from the material analysis of the painting and the base on attachment 1 and comparing them with the main canvas of “Carrying the Cross,” we can establish that attachment 1 was not made by the author.

As stated above, the original size of the canvas used by Titian is established with complete precision. At the same time, there is no reason to assume the possibility of the presence of additions to this format made by Titian himself, which were later lost for some reason and replaced by restoration prefixes.

On the other hand, the study of the paint layer and the painting style of the main part of the picture gives results that are constantly found in other works of Titian (the composition of paints, the natural alternation of impasto and glaze layers, a typical underpainting that is not confused even by the lower image, the writing of enhanced lights on the dark underpainting and then glaze them, etc.)

If you close all the attachments in the picture and look at it only in its original format, the composition takes on a completely different character, truly inherent in Titian’s works, and all the perplexities that arose earlier disappear (ill. 16). The cross takes on its normal shape, the straightness of Christ’s hand on the right is justified, there is no longer a shapeless part of Simon’s hand, no dissonant colors on his collar. And the blue area on the right is really Simon's shoulder. Its entire dark silhouette is visible in good lighting (see section 5 on the diagram). The shoulder appears in place when the head is strongly tilted and, most importantly, in the absence of another shoulder on the attachments, incorrectly drawn, but with its primary size and brightness of colors subordinating the viewer’s perception. And this blue color, undoubtedly belonging to Titian, on Simon’s left shoulder, deep, rich, slightly violet, fits perfectly with the entire golden palette of the picture, despite the upper notes of others and the contaminated varnish.

The entire composition regains its lost integrity. The figure of Christ is made central. Its back is distinguished by the main plastic mass. The light on the head and back of Christ dominates the entire picture, pushing both the hand and the figure of Simon into a light undertone. The sharp, straight edges of the cross contrast with the soft shapes of the body. They are not bothered by the repetition of the flat shapes of the light stripe on the lower attachment. Behind the cross and Simon's head a deep space develops. And, perhaps, the horizontal border (section 4 on the diagram) is the line of the distant horizon, above which the dark sunset sky glowed in the depths. Perhaps this was intended by Titian earlier, and then it was redone or there were strong changes in colors; but even now, in bright light, these deep, hot red tones are faintly visible. Something similar (judging by the reproduction) is probably on the Madrid copy.

Instead of flat, frontally located figures, identical in their plastic significance, there is a clearly spatial, tonally centralized solution, typical of Titian’s late painting.

The tight confines of the format, which do not accommodate both the hand of Christ and the head of Simon, can be partly explained by some randomness in the size of the old canvas used. This may have prompted the writing of the more extended Madrid version. But even there the image of Simon’s head remains cut off from above. This compositional technique is common among Titian. In most of his compositions, both portraits and multi-figures, parts of figures and objects are cut off. There are significantly fewer paintings that have a completely closed composition. And this position is entirely consistent with the essence of Titian’s painting method, which builds the final balance of all the elements of the picture in color and tone, subordinating the linear composition to them and through them achieving the final expressiveness of the image.

Comparing the Hermitage painting with the Madrid copy (ill. 26), it seems that one can unmistakably say that both the continuation of Simon’s arm and right shoulder on the attachments are painted according to the scheme of the Madrid version, without taking into account the different position of the head there, and behind it Simon’s shoulders - more frontal and elated. Hence the discrepancy between both shoulders in the Hermitage painting.” It is interesting that the dimensions of the Hermitage “Carrying the Cross” without two horizontal attachments (65.9 X 76.5 cm) almost exactly coincide with the Madrid one (67 X 77 cm). Meanwhile, it is obvious that all prefixes 2-5 were made at the same time and later than the first.

The original image on the canvas, visible in radiographs, clearly depicts a man's head and vague white spots extending from Christ's nose down to the right, below the elbow and on the back. This head (ill. 25) almost exactly repeats the head of Christ in another painting by Titian in the Hermitage, “Christ Pantocrator” (ill. 27): the same shape, turn and tilt of the head, facial features, gaze, radiance around. And on x-ray IV (Fig. 22), near the lower edge of the picture, you can see the image of a hemisphere with the fingers lying on it. In the whitewash stains on the back and near the face of Christ from “Carrying the Cross” one can discern wide folds of clothing.

The reconstruction of the original image, made from radiographs (Fig. 28), gives the composition of “Christ Pantocrator”, which in its main motif is reminiscent of a painting by Titian in the Vienna Museum (Fig. 29). However, in the X-ray the face of Christ is older and more courageous, much closer to the Hermitage version.

As already mentioned, the bottom image remains only an underpainting. Its transparent brown (almost black) paint is similar to the dark glazes of the upper layers. Its tone is intertwined with the preparatory tones of “Carrying the Cross” and serves either as a dark ground or as part of the latter’s underpainting. Both images are very close in time - their paints have absolutely all the same cracks and changes. And numerous paint breaks could have occurred from insufficient drying of the lower, oil-rich layer.

Now the history of the creation of the Hermitage painting seems to be as follows. Titian initially began writing a version of Christ Pantocrator, coming from an earlier Viennese one. But here he interprets in a new, “older” way the image of Christ, later developed and realized in the Hermitage copy. The unfinished canvas was used for the Carrying the Cross version. And it may be more likely that this is the first variant from which the more developed Madrid one was born. Although the change in the position of Simon’s index finger in the painting in the Hermitage, originally painted according to the Madrid version, as well as the general nature of the latter’s painting (as far as one can judge from the reproduction) seem to indicate the opposite.

In any case, these variations were accompanied not simply by a change in format, but by an organic restructuring of the image - a change in the position of Simon's head and shoulders, a rotation of Christ's head and alteration of other, smaller details. However, for all this, the integrity and spatiality of Titian’s compositions were preserved, which disappeared in the Hermitage painting with the additions and are found again if they are abandoned.

The first attachment, judging by the texture, similarity of colors and general old varnish, was probably made back in the 17th century, and the rest much later, not earlier than the end of the 18th century. The model for them, undoubtedly, was the Madrid specimen.

Thus, doubts about the author of the Hermitage painting “Carrying the Cross” can be finally cast aside. It was definitely written by Titian. Now the painting is exhibited in its original format.

The actual size of the painting, taking into account the folded left edge, is 65.9 X 59.8 cm.

As for the conclusions of M. V. Alpatov, built on the previous form of the picture, distorted by prefixes and notes, these conclusions turn into unfounded speculation, some - into incorrect statements to the contrary. 8

1 A. Venturi, Essay on Italian art in St. Petersburg, “Old Years”, 1912, June, p. 10. Later, in “Storia dell'arte Italiana”, Milano, 1928. Venturi does not mention the Hermitage painting “Carrying the Cross” at all. It also does not appear in “Klassiker der Kunst”, 1904 (when listing all the other Hermitage paintings by Titian, see Vol. III, “Tizian”), neither do later authors: W. Suida, “Tizian”, Zurich-Leipzig. , 1933; H. Tietze, “Tizian”, Wienna, 1936, etc.

2 M. Alpatov, Sketches on the history of Western European art. “Carrying the Cross” by Titian, Art, 1939.

3 The last duplication was made from the Hermitage in 1850, immediately after the purchase of the painting.

4 The use of ultraviolet rays in the study of paintings is based on the property of paints and varnishes, which may be the same color, but of different chemical and physical composition or applied at different times, to luminesce completely differently in invisible ultraviolet rays. In “Carrying the Cross”, later restoration records appear against the background of a light old varnish in three layers: 1 - the darkest, rarest, almost exclusively at the joints of the attachments and on the edges, relatively recent; 2 - lighter ones, probably made in 1850 (during the last duplication in the Hermitage); 3 - the lightest - of the same time as prefixes 2-5 (the same tone as them).

5 The use of fluoroscopy is based on the greater or lesser transmission of X-rays through various painting materials. They are most strongly delayed by lead white, which is reflected on x-ray film as white spots. All x-rays were taken by Hermitage radiologist T. N. Silchenko.

6 A number of paintings located in the Hermitage were painted on a diagonal canvas, for example: Titian “Danae”, P. Veronese “Conversion of Saul”, Garofalo “Marriage in Cana of Galilee”, as well as many paintings by Titian located in other collections: “John the Baptist” - Venice, Academy, “Madonna and Child and Saint Catherine - Florence, Uffizi Gallery, “Self-Portrait” and “Venus” - in the same place, among others.

7 In the Hermitage painting “Saint Sebastian” by Titian, in the upper part, painted on ordinary canvas, there is also a similar attachment made of diagonal fabric. A study of the attachment made by the Hermitage restorer V. G. Rakitin in 1951-1952 showed that it was added after the initial stretching and priming of the main canvas. However, here the attachment was sewn on and all the painting in both areas is absolutely common both in the composition of the paints, and in the manner of their application, and in the texture of the strokes, inextricably moving from one part to another. There is no doubt that in this case the enlargement of the canvas was done by the author himself. The main part of the Saint Sebastian canvas was also originally used by Titian for another unfinished painting.

8 M. V. Alpatov installed a “balustrade” that introduces the compositional space of the painting - a light stripe on the lower attachment; the flat construction of the picture and the strict linear composition are emphasized, fitting all the figures into the format without cutting them, which is not typical of Titian’s work at all; The color harmony of the painting is especially appreciated when including the dissonant color of Simon's collar on the left console; the golden ratio is artificially attracted, which has absolutely no place here, etc.

1500–1535.
Ghent, Belgium.
Board size: 83.5*76.7cm.

Authorship "Carrying the Cross" usually attributed Bosch. It was painted in the early 16th century, probably between 1500 and 1535. The work is housed in the Museum of Fine Arts in Ghent, Belgium.

Carrying the cross

Story

The work was purchased by the Museum of Fine Arts, Ghent, in 1902. As for all works associated with Bosch, the dating is imprecise, although most art historians believe that this painting belongs to the author’s late work. The date of creation was finally approved at an exhibition held in Rotterdam in 2001. At the same exhibition, it was suggested that the work came from the pen of an imitator. According to one historian, Bernard Vermet, “carrying the cross” is not so characteristic of Bosch. In addition, the colors remind him of the style of 1530. This painting probably relates to works like “The Passion at Valencia” and “Christ before Pilate at Princeton.” They were painted after the artist's death.

Description

In the lower left corner of the house, Veronica is holding the Shroud, her eyes are half open, and she is looking back. And finally, in the upper left corner is Simon of Cyrene, helping Jesus with his burden, by order of the Romans.

Rogue Gestas

Related works

There are two more paintings by Bosch with a similar plot. The date of the first painting is considered to be 1498. It is currently housed in the Royal Palace in Madrid. Another work (circa 1500) can be found in the Kunsthistorisches Museum in Vienna.

The pinnacle of Venetian Renaissance art - the painting of the great Titian (1485/90-1576).

The artist was born in the late 1480s (the exact date is unknown) in the town of Piave di Cadore, located on the border of the Venetian Republic. But his real homeland was Venice, where he lived a long, happy life, very rarely leaving the city; Here he died at the age of about 90 years. In order to introduce the reader a little into the atmosphere of life in Venice at that time, I would like to give a description of the holiday that took place in Titian’s house, made by one of his friends:

“On the first of August I was invited to a celebration in a lovely garden belonging to Messer Titian, a well-known, excellent painter... Most of the most famous people of the city were there... The sun was very warm, although the place itself was shady, so We spent the time, while the tables were taken outside, looking at the paintings that amazed us with their vitality, which filled the whole house, and enjoying the beauty and charm of the garden, located at the opposite end of Venice on the bay of the sea. Being in it, you can see the beautiful island of Murano and others. places. The sun had barely set when countless gondolas filled with beautiful women glided across the water. Music and singing sounded around us and accompanied our cheerful dinner until almost midnight... The dinner was very good, rich in the most excellent wines and all the pleasures that could be had. create for us the season, the guests and the holiday itself.”

Titian was famous, rich, surrounded by the most educated people of his time. His paintings already evoked rave reviews from his contemporaries. They said about him: “He shines like the sun between the stars.”

But this artist, who embodied the ideals of the Renaissance with all the strength of his mighty talent, then tragically and passionately felt the collapse of the ideas of the Renaissance.

He was about twenty years old when (in 1508) he began working with Giorgione, painting the German courtyard in Venice with frescoes (the murals have not survived to this day; frescoes do not tolerate the damp and humid climate of the city, and artists of this school rarely worked in the technique frescoes).

Titian’s large Hermitage painting “The Flight into Egypt” dates back to approximately the same time, and in many ways it is still close in spirit to Giorgione.

The collection of paintings by Titian in the Hermitage is large: the museum houses eight canvases by the artist dating from different periods of his work, but the works of the mature master created in the 50s - 70s of the 16th century are especially fully represented. Not many works by the young Titian are known, and researchers still cannot “divide” some of them between Giorgione and Titian, attributing them to one or the other artist.

"The Flight into Egypt" is described in detail by Titian's major biographers: in the 16th century - Giorgio Vasari, in the 17th century - Carlo Ridolfi. Ridolfi wrote that Titian “executed an oil painting of the Virgin and her son fleeing into Egypt, accompanied by St. Joseph, an angel leading a donkey, and numerous animals walking on the grass... and here is a group of trees, very natural, and in the distance - soldier and shepherd."

"The Flight into Egypt" is of great interest, as it shows where Titian began his creative career. The artist chose a large canvas of an elongated format (206 X 336 cm), which made it possible to include a wide panorama of the area through which the holy family is heading to Egypt. And although the main characters are traditionally shown in the foreground, they are given less attention than the landscape, which is characterized with great care and poetry. Against its background, the slightly awkward figures seem ordinary and everyday. A wingless angel with a small bundle of things, stepping heavily, leads the donkey by the reins, on which Mary and Christ are sitting. She tied the child to her chest in peasant fashion and wearily bowed her head to him; Saint Joseph keeps up with them, holding a twig on his shoulder. The compositional arrangement of the figures - the group shifted to the left edge of the picture, the rhythmic placement of the characters one after another - creates the impression of a long and tedious journey. The magnificent clothes of Joseph and Mary are not suitable for these people: an old man and a tired woman.

Undoubtedly, the most successful part of the picture is the landscape. Venice is a city almost devoid of trees and grass; its appearance is determined by numerous canals and the sea. The more the imagination of the Venetian artist should have been excited by the lush meadows, bathed in the sun, the spreading dense trees, in the shadow of which the smooth surface of the waters is so calm, and the blue ridge of mountains that closes the horizon. The world depicted by the artist is serene and beautiful. In the choice of motifs included in the landscape, lessons from Giorgione are felt. It was he who loved to convey such lush crowns of trees, herds grazing in the fields, bright distances in the depths. The secondary figures - the soldier and the shepherds talking to him - almost repeat Giorgione's types. The choice and juxtaposition of colors also reflects the influence of this master: fabric changing from soft pink in the light to dark cherry in the shade, the silvery shine of the soldier’s metal armor, the dark green of the foliage. The red-pink stain of the clothing echoes the red flowers and clothing of the shepherd. But at this stage, Titian, to a greater extent than Giorgione, proceeds from a decorative perception of color.

The Quattrocento traditions continue to be felt in the abundance of details. Deer, foxes, cows, birds, a variety of flowers and grasslands inhabit and enliven the meadows and forests.

The young artist is still closely associated with Giorgione, but at the same time he is already a major master himself; To be convinced of this, just look at any detail of the picture.

In 1516, Titian became the official artist of the Venetian Republic. His fame is growing, and gradually the most prominent figures of both Italy and Europe become the master’s customers. He paints canvases for them, creates portraits.

Emperors, kings, popes, generals, humanists, and the most beautiful women of Italy posed for Titian.

The name of the lady depicted by Titian in the portrait kept in the Hermitage is unknown. However, this model repeatedly attracted the attention of the artist. "Venus of Urbino" (Florence, Uffizi), "La bella" [Beauty] (Florence, Pitti) were written from it. In the same pose and almost the same outfit, the lady is presented in a portrait from the collection of the Kunsthistorisches Museum in Vienna.

Depending on who Titian painted, he changed the composition, color, and level of detail. The master does not look for psychological depth in female images. His beauties are thoughtless, sensual, full of consciousness of their youthful beauty. Therefore, the artist pays such attention to details that help create the image of a beauty. The soft iridescence of velvet, the splendor of ostrich feathers, the dullness of pearls, the dull shimmer of gold - all this is written with a keen sense of the picturesque features of each object and perfectly sets off the full, flexible hands and gentle face.

An X-ray study of the painting showed that initially the lady’s head was crowned with the same pearls as in the Viennese portrait, and only then a tall hat trimmed with pearls and feathers appeared instead.

All the paintings in which the image of this woman is repeated, including the Hermitage portrait, date back to the 1530s.

Vasari reports that in 1533, Titian wrote “Danae” (Madrid, Prado) for the heir to the Spanish throne. Titian turned to the ancient legend several times, starting in the 30s. One of the options is in the Hermitage.

Greek myth tells the story of King Acrisius, who was predicted by an oracle to die at the hands of his future grandson. In an effort to deceive fate, the king ordered his only daughter Danae to be imprisoned in a tower, but Zeus, enchanted by the beauty, entered her in the form of golden rain and became her lover.

A fascination with ancient mythology is characteristic of Titian’s entire work; images of ancient legends gave him the opportunity to embody the almost pagan joy of the fullness of existence.

Even in his youth, after Giorgione’s death, Titian completed his famous “Sleeping Venus” (Dresden, Art Gallery). "Sleeping Venus" is the first easel work of Venetian painting in which an ancient subject was chosen for the sake of a sublime display of female nudity. This painting left a deep mark on Titian's work. Under her impression, he creates a number of paintings on the same theme, and also varies the myth of Danae.

In "Danae" the artist tackles the theme of love, happiness and, above all, human beauty. The naked female body is shown in the painting without the medieval disdain for the flesh and without the shade of frivolity that would appear later, for example, in French art of the 18th century. In Titian, nudity is sublime and noble. Danaya is “so ostentatiously naked” that the entire environment is designed to only further emphasize her charm. A maid sits at Danae’s feet, trying to catch gold coins falling from the sky in her apron. Her figure is a contrast to Danae; a wrinkled old woman with rough brown skin sets off the heroine’s youth.

Titian cares little about the logic of the narrative: Danae’s bed is not in the tower, but in the open air, against the backdrop of the landscape. Holding the canopy, Danae looks up, where among the clouds the outlines of a loving god appear, who descends to her in a stream of gold. Love is interpreted as a spontaneous feeling, as a principle inherent in nature, and therefore man is so closely and harmoniously connected with the whole world.

During previous restorations, the painting's colorful surface was somewhat washed away, and it looks more faded than is usually the case with Titian; nevertheless, we can judge how subtly the artist thought out the color relationships so that they correspond to the embodiment of the theme of love and beauty. The golden-pink tones of the foreground are enhanced in combination with the cool grayish-blue tones of the second.

"Danae" dates from the mid-50s of the 16th century. At the same time, a turning point in Titian’s work was outlined, associated with the general crisis that gripped Italy. True, Venice was affected less by it than other regions of the country, and this process proceeded more slowly here, but in the 50s it became noticeably noticeable, since the new offensive of the reaction coincided with the defeat of Venice in the fight against the Turks.

Every great artist consciously or unconsciously reflects in his art the time in which he lives. Titian's paintings gradually lose their former harmony, the bright worldview is replaced by a tragic one. A person finds himself in the face of dark forces, struggle and sometimes death are inevitable. Painting techniques also become different. Even contemporaries drew attention to the changes that had taken place, which marked a new stage in European painting. In particular, Giorgio Vasari wrote: “The technique he adheres to in these latter works differs significantly from his youthful technique, for his early works are executed with particular subtlety and incredible diligence and can be viewed close up, as well as from a distance, while the latter are written strokes, sketched in a broad manner and in spots, so that it is impossible to look at them close up and only from a distance do they seem finished... This method is reasonable, beautiful and amazing.”

The Penitent Mary Magdalene is one of Titian's undisputed masterpieces. On the left side of the picture, on the rock above the vessel, is the artist’s signature.

The sinner Mary Magdalene, according to legend, repented after meeting Christ, spent many years in the desert, where she mourned her past sins. She became the heroine of a number of works by Titian, of which the Hermitage copy is rightfully

On the Hermitage canvas, Magdalene is presented at a moment of passionate and violent repentance. In the artist’s art it is rare to find a female image of such emotional strength; more often in his heroines beauty replaces feelings. Preserving his favorite type of blooming, bushy-haired Venetian woman, Titian endows her, instead of the usual thoughtlessness, with a strong and vibrant character. Inflamed, reddened eyelids, a face swollen from tears still rolling down her cheeks, a gaze repentantly and passionately directed to the sky - all this expresses her endless and deeply sincere grief, conveyed, however, without exaggerated pathos. Instead of the desert, where, according to legend, Magdalene retired, the artist depicts green valleys and trees, but everything is full of anxiety - the evening light, the wind bending the trees, turning over the pages of a book, clouds floating across the sky. Nature absorbs human anxiety and merges with it in a stormy, dramatic rush.

Conveying the state of the heroine, Titian remains stately and restrained in the Renaissance way. The picture is alien to mysticism, religious ecstasy, severe asceticism; it is imbued with an affirmation of the beauty and significance of the earthly world.

Color is one of the main means of expression. The dark range, saturated with various shades, sometimes gently flickering, sometimes flashing sharply, seems to convey the heroine’s emotional trepidation. The brush moves across the canvas widely and freely: light strokes, almost transparent, merge with each other into a single surface, creating the illusion of body volume, elastic breasts, half-covered by a thin light fabric... Suddenly the brush makes a temperamental stroke with a thick layer of paint on the shape of the object, and a crystal vessel began to shine, torn out of the darkness by a ray of light. An almost sensual flutter of the brush is felt when rendering the mass of long soft hair, golden shades subtly turn into brownish, and a fluffy veil appears, carefully covering the shoulders and chest.

Two more Hermitage paintings by Titian date back to the 60s of the 16th century - “Christ Pantocrator” and “Carrying the Cross”. The tradition in the painting “Christ Pantocrator” is reflected in the fact that Titian uses a type often found in medieval mosaics: in his left hand Christ holds a sphere - a symbol of unlimited power, and raises his right hand for blessing. The innovation of the work lies in its pictorial structure. The crystal sphere lying on the palm of Christ is beautifully painted. All possible pictorial effects were extracted from the features of this object - its volume, transparency, ability to reflect and absorb light. A bold stripe of white at the lapel of the Almighty’s red robe creates an unexpected impression of dynamics and enlivens the generally calm figure.

A figure similar to “Christ Pantocrator” was discovered using X-rays in another Hermitage painting, “Carrying the Cross.” Abandoning the composition he originally conceived, Titian painted the current one on the same canvas. Here Christ is no longer the calm and benign ruler of the world, but an exhausted, tormented, but mentally resilient man, courageously enduring physical suffering.

Two faces - Christ carrying the cross, and Joseph of Arimathea, trying to help him - are very close to the viewer. In such deliberate fragmentation lie the germs of the future. Such compositional techniques will be readily used by artists at the next stage in the development of art.

Color here is the main means that helps Titian highlight the hero. The pale face of Christ and his thin hand stand out clearly against the background of the cross framed by olive-smoky clothing. The shadow lying on Joseph’s face and the soft strands of gray hair and beard seem to deprive the figure of materiality, and it blurs into the darkness, merging with the cross.

In the 70s of the 16th century, in his ninth decade of life, Titian created one of his best works - “Saint Sebastian”. If the legend of Mary Magdalene was interpreted as a dramatic event, then the story of Sebastian turns into a tragedy. Sebastian was one of the most revered saints in Italy, because they believed that he helped people get rid of the plague. His image was often found in altar paintings, and he also appeared in the early works of Titian in the form of a handsome half-naked youth. But in the entire history of Renaissance painting, no image as tragic in its loneliness as “Saint Sebastian” was created.

The hero is depicted at the moment of death, deadly arrows pierce his beautiful body of an athlete, still full of living awe; a suffering gaze is directed to the sky. At the very last moment of life, a person remains beautiful and unbroken. It is not for nothing that Titian gave the figure of Sebastian special significance and monumentality. With his impeccable build, the hero resembles ancient statues. Until the end of his career, Titian retained in art his faith in the high destiny and dignity of man. He seems to be saying: a person can be physically destroyed, but the indomitability of his spirit and mind will live forever. The dying Sebastian stands like an indestructible column, and it seems that the whole world is gripped by the tragedy of his untimely death: the dark, disturbing sky merges with the earth, in the distance there are flickering red reflections. Individual forms are indistinguishable, everything has merged into a magnificent stream of strokes; the smoke of the fire flows at his feet, and its reflections, like the glow of the fire, play on the young man’s body with a thousand elusive shades. In the picture there is no division into background and foreground figure in the traditional sense of the art of the previous era, but there is a single light-air environment in which everything is interconnected and inseparable.

The pictorial structure of “Saint Sebastian” evokes Vasari’s words about the peculiarities of Titian’s late manner. Indeed, if the picture is examined closely, it will seem that its entire surface is covered with a mass of random strokes, and only from a distance does the pattern in the apparent chaos become clear. The composition of the work was carried out without any preparatory sketches. The canvas consists of several pieces; one was added by the artist when, having changed the original plan, he decided to depict the figure not up to the waist, but at full height and, having extended the canvas, added the legs.

Not all contemporaries understood the pictorial innovation of Titian's late works as did Vasari. It seemed to many that the artist’s talent had weakened over the years, and they attributed his freedom of use of a brush to the incompleteness of the painting. Even in the 19th century, “Saint Sebastian” continued to be considered an unfinished work and was kept in the museum’s reserves. And only in the 90s of the last century the master’s masterpiece was included in the permanent exhibition of the Hermitage.

"Saint Sebastian" is Titian's great achievement. The work was written with complete creative freedom, it opens up new paths to the future with both the boldness of painting and the unity achieved in the depiction of man and the environment. The world appears to the old artist in a pictorial rather than a plastic form.

Titian died of the plague in 1576. He always remained faithful to the ideals of the Renaissance, but the creation of many of his works coincided with the collapse of these ideals.

The Hermitage possesses a number of works depicting Titian (14777 - 1576) in all his grandiose size. This is partly explained by the fact that in general it is easier to have paintings by the Venetians, who painted almost exclusively individual, so-called easel paintings, outside of Italy than by the great masters of Rome and Florence, who spent their best efforts on “immovable” creations - on frescoes. The Hermitage paintings confirm our characterization of Titian. All of them belong to the most mature period of his work, and three works tell us about the solemn “decline” of his genius.

It is impossible to classify the most precious pearl of the Hermitage among such “sunset”, senile works of Titian. - “Venus in front of the mirror”(we consider it to belong to the late 1550s) - there is still too much strength and brightness in its colors, which is no longer present in Titian’s later works.

Titian.Venus in front of the mirror. Around 1555. Oil on canvas. 124.5x105.5. (Sold from the Hermitage to Andrew W. Mellon. National Gallery, Washington)

This Venus can be called the apotheosis of the Venetian woman. There is nothing to look for here for the ideal of a Greek goddess, but Titian did not set out to do so. It was important for him to express his personal worship before the luxury of the body, before its whiteness, warmth, tenderness, before all this blooming charm, promising the joy of love and endless generations of human existence, the infinity of earthly life.

“Penitent Magdalene”(written around 1561) the same Titian Venus, but depicted in a fit of heartache. The deprivations of the desert had not yet had time to dry up her full forms, and Venus-Magdalene took a bottle of cosmetics with her into solitude.

Titian. Penitent Mary Magdalene. 1560s. Oil on canvas. 118x97. Inv. 117. From the collection. Barbarigo, Venice, 1850

Characteristic of Titian is his simple truthfulness, his complete sincerity. He does not break down when he creates his own interpretation of the gospel heroine. He doesn't take her lightly. He really understood Christianity this way - without a shadow of asceticism, as a great life-consuming passion. The sins of his Magdalene are not carnal sins, for which Titian’s heroines are not accustomed to blush at all. Titian's Magdalene cries only because she did not love enough, did not care enough for her beloved, did not sacrifice herself to him. You believe, you believe this grief with all your soul - but grief is not the spiritual self-flagellation of asceticism, but the pain of irrevocable loss.

After all, Titian’s Ascending Mother of God in the Venetian Academy is a woman rushing to embrace her son, and not the Queen of Heaven about to sit on the throne.

Pictures of recent years

Titian is sometimes called the forerunner of Rembrandt and equally the forerunner of 19th-century Impressionism. To understand this apparent paradox, it is enough to study three paintings by the master in the Hermitage, dating back to the last years of his life. Indeed, here painting in the sense in which it was understood throughout the rest of the history of art (with the exception of Rembrandt, partly Goya and the French of the 1860s and 1870s) disappeared and was replaced by something else. Or rather, here painting only became painting, something self-sufficient. The edges of the drawing disappeared, the despotism of the composition disappeared, even the colors, their play and play disappeared. One color - black - creates the entire colorful effect on “St. Sebastian", not a lot of colors in the paintings either “Behold the man” And “Carrying the Cross”.

Titian. Saint Sebastian. OK. 1570. Oil on canvas. 210x115.5. Inv. 191. From the collection. Barbarigo, Venice, 1850

Titian.Carrying the cross. 1560s. Oil on canvas. 89x77. Inv. 115. From the collection. Barbarigo, Venice, 1850

But this does not at all indicate a decline in the strength of the elder Titian, but rather the highest point of his development as a painter, as a master of the brush. The images in these paintings are less thoughtful than in earlier works, and in general the “content” of these paintings touches us less than the “content” of Titian’s paintings from that period when he was still interested in the drama of life. Here you can feel the “old wisdom”, some kind of indifference to the vanity of things. But instead of this, one discovers an absorbing pleasure in creativity, unbridled ardor in the plastic manifestation of forms. The black paint in “Titian the Elder” is not the boring lifeless darkness of the “Bolognese”, but some kind of primary element, some kind of magical creative means. If Leonardo could see such results, he would understand that he was looking for his sfumato, his haze, on the wrong path. The magical darkness does not lie here, as in Leonardo, in methodical shadows, does not outline, does not define, does not border, but leaves to the visions all their trembling, their vital vibration. These are “only impressions,” but impressions of one of the most illuminated human minds, appearing before us in all their spontaneity, without a trace of petty pedantry, without a shadow of theoretical rationality. It is perhaps dangerous for young artists to look at such paintings. It is too easy to adopt their external features and, on the contrary, it is difficult to guess their inexpressible secret, if you yourself do not experience everything that Titian, this “king of Venice”, a friend of the brightest minds of his time, the favorite artist of the founder of modern politics, Charles, experienced in his eighties V, the favorite artist of Philip II, who dared to go against history, and finally, the artist for whom the last “great pope,” the greedy and intelligent Paul III, posed. Titian, who had once seen the best days of Venice and sensed its slow, inevitable death...

Giving Two paintings by Titian that we have still ignored: "Danae" And "Savior of the World".

Titian. Danae. OK. 1554. Canvas. Oil. 120x187. Inv. 121. From the collection. Crozat, Paris, 1772

You don’t think about them while you’re busy with the master’s more spiritual works, but in themselves they are worthy of the greatest attention. “Danae,” which some researchers consider to be a copy, others for an ordinary repetition made by students from Titian’s original, written by him in 1545 for Ottone Farnese, nephew of Pope Paul III, is not very popular due to such certifications. However, this is a misunderstanding. By the magic of painting, so light, simple and confident, the Hermitage “Danae” is perhaps one of the best paintings in his entire creation, but if the type of woman leaves us cold, it is probably because Titian himself was in this case more interested in the overall colorful effect rather than in conveying sensual charm. There is neither the seduction of his Florentine “Venus”, nor the intimacy of his Madrid “Venuses” (obviously, portraits of courtesans), nor the “apotheosis of woman”, as in our “ Toilet ” . In general, there are fewer “women” here. But what luxury there is in the opalescent, mother-of-pearl tints of the body, in the thick purple of the drapery, in the juxtaposition of colors on the figure of the maid and in the brilliantly sketched landscape. And how brilliantly, “fun”, simply and quickly everything was executed. The picture was accurately painted once without corrections or retouching.

“Savior of the World” is a very damaged picture. It was listed in the master's inventory, compiled after his death, and was probably corrected and completed by those who inherited it. However, the overall grandiose design of Titian, precisely inspired by Byzantine mosaics, has been preserved, as well as the beauty of the sparkling crystal orb that the Lord holds in his hand. A symbolic motif of deep antiquity, probably loved by the elder Titian for its expression of the fragility of all earthly existence.

Beginning of the post: King of painters Titian Vecellio (1477-1576)

THE LAST YEAR OF THE MASTER'S LIFE.

In recent years, the artist often wrote for the soul. Titian's house was constantly full - many students, artists, collectors and eminent guests came to him throughout Italy and from other countries. Nevertheless, prone to melancholy and reflection, Titian essentially remained lonely. He often recalled his youth and his beloved Cecilia, indulged in thoughts about the frailty of existence and yearned for everyone whom time had taken from him. The result of these sad thoughts and spiritual loneliness was the painting “Allegory of Time and Reason,” written around 1565 (National Gallery, London), which is considered a kind of testament of the master to his descendants.

Allegory of Prudence c. 1565–1570 76.2 × 68.6 cm London National Gallery

According to tradition, the painting should be read from left to right, that is, counterclockwise, and from top to bottom. An old man in a red cap symbolizes the past, a black-bearded man symbolizes the present, and a young man symbolizes the future. The animals painted at the bottom of the picture are also symbolic: the wolf represents the human powers that the past takes away, the lion personifies the present, and the dog awakens the future with its barking.

In 1570, Titian created the painting “The Shepherd and the Nymph” (Kunsthistorisches Museum, Vienna). This light, freely painted canvas was not commissioned by anyone; the artist created it for himself.

Shepherd and Nymph, Kunsthistorisches Museum, Vienna

A naked nymph lies on the skin of a killed animal, with her back turned to the viewer and her head slightly turned. The young maiden is not at all embarrassed by her nakedness. Next to her is a shepherd who is about to start playing a musical instrument, although he may have just interrupted, carried away by the beauty or words of the heroine. The overall coloring of the picture is deliberately condensed by the author, this creates a certain mystery and understatement in the relationships of the main characters, enhanced by the inclusion of brown and ashy dark tones. The background landscape is blurred, only a piece of broken wood is visible, as if left after a storm. It does not affect lovers who live in their own world of beauty and bliss and do not notice anything around them. Despite the romantic composition of the picture, the chaos reigning in the landscape surrounding the heroes and the choice of colors, they still tell us that there was no joy in harmony in the artist’s soul. In the bewildered look of the nymph, his own question seems to be visible - what will happen to them next, how to find joy again in the destroyed Universe.

Soon another misfortune happened: Titian’s father died. But the artist could not give up, he continued to create. Thanks to his regular customer, Philip II, Titian was always provided with work. So, around 1570, the master began creating the work “Carrying the Cross” (Prado Museum, Madrid), which took him five years to complete.

Carrying the cross around 1565 89 5 × 77 cm
State Hermitage Museum, St. Petersburg

The film is based on a classic gospel story. According to Scripture, Simon of Cyrene was sent to Christ to help him carry the heavy cross to Calvary. The face of Jesus is full of anguish and pain, his right shoulder seems almost transparent. The image of Simon is, as it were, opposed to the image of Christ. On his finger is an expensive ring, emphasizing his difficult origins. Simon's clean face with a neat, well-groomed beard contrasts sharply with the face of Jesus, covered with drops of blood. The whole picture is divided diagonally by the lower part of the cross, which further enhances the overall dissonance.

Religious themes run through all of Titian’s work, but from the subjects of the paintings themselves and the manner of their execution, one can trace how the artist’s worldview changed, his attitude towards virtue, vices and the theme of martyrdom. This is perfectly reflected in the paintings dedicated to the Great Martyr Sebastian.

In the first works, Saint Sebastian appears before us humble and submissive, but in the last work of the artist, he is determined and ready to fight to the end. This painting, called “Saint Sebastian” (State Hermitage Museum, St. Petersburg), was painted around 1570.

The background in the picture is blurred, it is impossible to make out anything on it, and only the figure of the hero himself, nailed to a tree, stands out for its purity. His body is pierced by arrows, but his face is not distorted by pain. There is pride and calm in his gaze, his face is slightly raised and his eyebrows are frowned. It is believed that Titian depicted himself in the picture here, not literally, but allegorically. Thus, he expressed his attitude towards his own fate, towards all the betrayals and losses, which, towards the end of his life, he learned to endure with steadfastness and dignity. This work embodies the artist’s belief that an individual hero is able to withstand any blows of fate, he will survive, even if the whole world around him turns upside down, he will be able to withstand and not break. The color of the picture seems blurry and monochrome, but hundreds of colors and nuances glow in every centimeter of it. The fate of the painting was such that in 1853, by decree of Emperor Nicholas I, it was placed in the storerooms of the Hermitage, where it remained until 1892. Only many years later did this work take its rightful place in the museum hall.

In the same year, Titian wrote another work with a similar idea. The painting “The Punishment of Marcia” (Picture Gallery, Kromeriz) is based on the myth of the satyr Marcia, who dared to challenge Apollo to a musical competition.

Punishment of Marsyas" c. 1570-1576 212 × 207 cm National Museum, Kromeriz, Czech Republic

Marsyas played the double flute, and Apollo played the lyre. When the muses could not choose a winner, Apollo suggested competing in vocal skills. Here Marsyas lost. As punishment for his defeat, Apollo decides to flay him, this moment is depicted in the painting.

In the center of the canvas is the figure of Marcia, suspended by his feet from a tree. Around him are heroes, captivated by the process of monstrous torture of the satyr. The picture is divided into two parts: to the left of Marcia’s body there are people who are passionate about killing him; she rips off his skin, not hiding her pleasure. On the right side of the canvas are those who are saddened by this brutal murder. These include the old man, who presumably depicts Titian himself. He sadly observes the death of Marsyas and the cruelty of his executioners. The face of the satyr himself retains dignity in the face of inevitable death. Art critics believe that the subjects of Titian's last paintings characterize his farewell to the ideas of humanism, in which he was disillusioned. The world is cruel and nothing in it can save a person, not even art.

LONELINESS AND DESPAIR.

The painting “The Lamentation of Christ” (Gallery del Accademia, Venice), painted around 1576, became the master’s last creation.

Pieta c. 1570–1576 351 × 389 cm Accademia Gallery, Venice

In it, Titian reflected the question that tormented him: what is there, beyond life? On both edges of the canvas there are two huge sculptures depicted: the prophet Moses and the soothsayer Sibyl, they personify the prophecy of the crucifixion itself and the subsequent Resurrection of Christ. At the top of the arch on the left side are branches and leaves of a plant, at the top on the right are small vessels with blazing fire. In the center of the composition, the Mother of God supports the lifeless body of her murdered Son. To the left of Christ stands Mary Magdalene, her pose is warlike, as if she asks: “What is this for?!” To the right of the Virgin Mary, an old man kneels, supporting the lifeless hand of Jesus. Some believe that the figure of the old man also depicts Titian himself. The overall color of the canvas is in silver tones with individual splashes of red and brown gold. The colors and arrangement of the figures perfectly convey the hopelessness and drama of the plot. There is also a mystery here. In the lower left corner of the work there is a small man holding a vase in his hands; art historians are still wondering where he came from and what he was supposed to symbolize.

Meanwhile, a plague was raging in Venice, infecting Titian's youngest son Orazio. The artist himself took care of him, without fear of the contagiousness of the disease. But one day, in the last days of August, the painter, being in his bedroom located on the second floor, heard a noise in the house. Titian went down and discovered that the orderlies, who were going around houses in the area in search of the sick or dead, were sailing on gondolas, taking away the artist’s last hope - his Orazio. The artist realized that this was the end and he failed to fulfill his sacred parental duty - to save his own son.

In a moment of despair, Titian depicted at the bottom of his last masterpiece, on the hem of Sibyl's dress, an almost imperceptible hand, directed upward, as if calling for help. This was the end, the artist’s long life, filled with tireless work, many joys and sorrows, came to an end. The worst thing for the painter was that he had to spend the last days of his life completely alone. Only his works, completed and just begun, looked at him from the walls of the workshop. On August 27, 1576, Titian was found dead on the floor of his studio. There was a brush in his hand. The artist did not contract the plague from his son; he died of his own death. Being almost a hundred years old, Titian did not stop creating until his last breath, completely devoting himself to the most important work of his life.

Titian's funeral was very magnificent, despite the plague epidemic. By government decision, the artist was buried in the Cathedral of Santa Maria Gloriosa dei Frari, although this was contrary to the will of the deceased. Even during his lifetime, Titian often said that he would like to be buried in his homeland in the Vecellio family tomb. But the most tragic thing was not this, but the fact that on the day of the funeral, not a single relative was near the painter’s body. The eldest son of the artist, Pomponio came to his father’s house only for his inheritance. But he was disappointed - the house was completely looted. A long and brutal struggle for inheritance began between him, a careless slacker who was his father’s greatest disappointment, and the husband of the late Lavinia, the father of her six children - Titian’s grandchildren.

The painting “The Lamentation of Christ” was Titian’s last creation, which he wrote, already feeling the approach of death. This was his appeal to the Lord. In the lower corner of the painting the artist wrote: “Titian did.” According to some sources, the painting was completed by his student, Palma the Younger, after Titian’s death. Presumably, he completed the painting of a flying angel with a lit candle and part of the stonework at the top of the canvas. Titian allegedly had difficulty reaching the top of the canvas in his very old age. The main evidence for this version is the inscription added by Palma. It reads: “What Titian did not finish, Palma completed with reverence, dedicating his work to the Lord God.” Based on this alone, one can compare the characters of the two painters. After all, Titian himself, having at one time redrawn with great skill the burnt painting of the late Giorgione “Sleeping Venus,” never mentioned his authorship, and Palma, adding minor touches to the masterpiece, did not fail to write his name on it. This was Titian’s distinctive quality - the artist’s greatest talent did not overshadow the modest and noble man in him. The name of Titian has forever entered the history of world art, and his legacy has served as inspiration for young artists and poets for centuries.

Text by Tatyana Zhuravleva.
Pictures not included in the text part of the post:

Christ Carrying the Cross circa 1508–1509 71 × 91 cm Scuola San Rocco, Venice (also attributed to Giorgione)