This show focuses on a wide range of topics ranging from the fertile cultural conditions found in Venice during the third quarter of the 16th century to Titianís patrons and colleagues (especially Sciavone, Tintoretto and Jacopo Bassano) to the figure of the artist himself. The main focus is on the last twenty-five years of Titianís creative life, which will be viewed against the background of the masterís family circumstances, questions of inheritance, and the role of his studio assistants. In addition, the exhibition includes around fifteen sixteenth-century graphic works from the Albertina that document the overwhelming popularity of Titianís compositions, and illustrate how his inventions were translated into a simpler pictorial language that appealed to a wider public.
Titianís late manner with its increasingly free handling Ė characterised by everything from visible brushstrokes to ďpatchinessĒ (pittura di macchie) - surprised, irritated and enraged not only some of his contemporaries such as patrons, men of letters and writers on art theory, but also many modern visitors. Only recently has Titianís late manner - which may vary greatly within a single painting - been recognised as a highly effective way of increasing the drama of the composition. The sensuality of Titianís brushstrokes reaches a high-point in his erotic-poetic compositions in which the master focuses on the beauty of the female nude. Over the years, however, his manner becomes increasingly loaded with a
spiritual expressiveness and a mysticism of suffering that allow us to imagine the aged artistís visions of death.
On view are examples of Titianís most important late works such as his Nymph and Shepherd, Tarquin and Lucretia from Cambridge/England, Flaying of Marsyas from KroměřŪě, the Saint Sebastian from the Hermitage in Saint Petersburg, Boy with Dogs from Rotterdam, two versions of Danae (one from Vienna, the other from Madrid), as well as three versions of depictions of Venus from Washington, Rome and New York, respectively.
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