TitianItália, 1490–1576Baco e Ariadne
Bacchus and Ariadne
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National Gallery
Londres, Reino Unido
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Sobre a pintura
Baco e Ariadne é uma pintura a óleo sobre tela pintada por Ticiano no início da década de 1520, e que se encontra no presente na National Gallery, em Londres. Pertence a um ciclo de pinturas de temas mitológicos produzidos para Afonso I d'Este, duque de Ferrara, para o Camerino d'Alabastro, uma sala privada no seu palácio de Ferrara, decorado com pinturas baseadas em textos clássicos. Foi pago um adiantamento a Rafael, que recebeu originalmente a comissão para o tema de um Triunfo de Baco. Quando Rafael morreu em 1520, apenas um esboço preliminar tinha sido concluído, e a comissão passou então para Ticiano. No caso de Baco e Ariadne, o tema deriva dos poetas romanos Catulo e Ovídio.
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A pintura, considerada uma das obras-primas de Ticiano, encontra-se atualmente na National Gallery, em Londres. As outras grandes pinturas do ciclo são A Festa dos Deuses (em grande parte obra de Giovanni Bellini, hoje na Galeria Nacional de Arte em Washington DC), O Bacanal dos Andrios e A Oferenda a Vénus (ambos atualmente no Museu do Prado, em Madrid).
Pormenores
- Número de inventário
- NG35
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Fontes
- Wikidata
- Imagem: National Gallery — Titian · Public domain · Wikimedia Commons
Entretanto, na vida de Titian
A vida inteira1525
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”.
