TitianItalien, 1490–1576Bacchus and Ariadne
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National Gallery
London, Storbritannien
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Om maleriet
Bacchus and Ariadne (1520–1523) is an oil painting by Titian. It is one of a cycle of paintings on mythological subjects produced for Alfonso I d'Este, Duke of Ferrara, for the Camerino d'Alabastro – a private room in his palazzo in Ferrara decorated with paintings based on classical texts. An advance payment was given to Raphael, who originally held the commission for the subject of a Triumph of Bacchus.
At the time of Raphael's death in 1520, only a preliminary drawing was completed. The commission was then handed to Titian. In the case of Bacchus and Ariadne, the subject matter was derived from the Roman poets Catullus and Ovid, and perhaps other classical authors.
Læs videre
The painting, considered one of Titian's greatest works, is now in the National Gallery, London. The other major paintings in the cycle are The Feast of the Gods, mostly by Giovanni Bellini, now in the National Gallery of Art, Washington, D.C, and Titian's The Bacchanal of the Andrians and The Worship of Venus, both now in the Museo del Prado, Madrid. The series was a very early treatment of subjects from classical mythology on a heroic scale in painting, rather than in small decorative pieces, and very influential on later works.
Oplysninger
- Inventarnummer
- NG35
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- Wikidata
- Billede: National Gallery — Titian · Public domain · Wikimedia Commons
Imens i livet hos Titian
Hele livet1525
Marries Cecilia, the mother of his sons
Cecilia, a barber's daughter from Pieve di Cadore, had been Titian's housekeeper and for some five years his mistress, and had already borne him two sons, Pomponio and Orazio. In 1525, when she fell seriously ill, Titian married her to legitimise the children; Cecilia recovered, and the marriage was a happy one.
1525
Married: Cecilia Soldano
1527
Aretino, Sansovino and the “triumvirate”
In March 1527 the satirist Pietro Aretino arrived in Venice: he became friends with Titian and with Jacopo Sansovino, and the three were popularly known as “the triumvirate”, becoming the centre of the city's artistic establishment. Aretino enlisted both in pursuing the patronage of Federico II Gonzaga, and by the autumn of 1527 the Marquis of Mantua had received from Titian a portrait of Aretino (lost); important commissions and an introduction to Emperor Charles V followed.
1529
First meeting with Emperor Charles V in Parma
Thanks to the patronage of Federico Gonzaga, Duke of Mantua, in 1529 at Parma Titian obtained an audience with Emperor Charles V, who promised him his patronage.
1530
The death of his wife Cecilia
In August 1530 Titian's wife Cecilia died. He remarried, but little information is known about his second wife; she was possibly the mother of his daughter Lavinia.
1530–1539
The young Tintoretto in Titian's workshop
According to Tom Nichols, the very young Tintoretto, brought to Titian's studio by his father, probably entered the workshop between 1530 and 1539, but only for a very brief time. According to Ridolfi, after being cast out of the studio he resolved to become a painter by studying the canvases of Titian and the reliefs of Michelangelo, and wrote on his wall the motto “Michelangelo's design and Titian's colour”.
