TitianItalia, 1490–1576Baco y Ariadna
Bacchus and Ariadne
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National Gallery
Londres, Reino Unido
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Baco y Ariadna (del italiano: Bacco e Arianna) es un lienzo al óleo de Tiziano, pintado alrededor de 1520-23. Pertenece a un ciclo de pinturas de temas mitológicos producido para Alfonso I de Este, el duque de Ferrara, para el Camerino d'Alabastro, una habitación privada en su palacio de Ferrara, decorada con pinturas basadas en textos clásicos. Se le pagó un adelanto a Rafael, quien originariamente recibió el encargo para el tema de un Triunfo de Baco. Cuando murió Rafael, en el año 1520, solo se había completado un esbozo preliminar, y el encargo entonces pasó a Tiziano. En el caso de Baco y Ariadna, el tema deriva de los poetas romanos Catulo y Ovidio.
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La pintura, considerada una de las obras maestras de Tiziano, se encuentra actualmente en la National Gallery de Londres. Las otras grandes pinturas del ciclo son El festín de los dioses (en gran medida obra de Giovanni Bellini, hoy en la Galería Nacional de Arte de Washington D. C.), Bacanal de los Andrios y La ofrenda a Venus (ambas actualmente en el Museo del Prado de Madrid).
Ficha
- Número de inventario
- NG35
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Fuentes
- Wikidata
- Imagen: National Gallery — Titian · Public domain · Wikimedia Commons
Mientras tanto, en la vida de Titian
La vida entera1525
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.
August 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”.
