Italian High Renaissance Painter, ca.1485-1576 Italian painter active in Venice. As a young man he was taught by the Bellini family and worked closely with Giorgione. His early works are so similar in style to Giorgione's as to be indistinguishable, but soon after Giorgione's early death Titian established himself as the leading painter of the Republic of Venice. Among his most important religious paintings is the revolutionary and monumental Assumption (1516 ?C 18) for Santa Maria dei Frari, in which the Virgin ascends to heaven in a blaze of colour accompanied by a semicircle of angels. Titian was also interested in mythological themes, and his many depictions of Venus display his work's sheer beauty and inherent eroticism. Bacchus and Ariadne (1520 ?C 23), with its pagan abandon, is one of the greatest works of Renaissance art. Titian was sought after for his psychologically penetrating portraits, which include portrayals of leading Italian aristocrats, religious figures, and Emperor Charles V. He reached the height of his powers in The Rape of Europa (c. 1559 ?C 62), one of several paintings done for Philip II of Spain. He was recognized as supremely gifted in his lifetime, and his reputation has never declined.  Related Paintings of Titian :. | Profane Love - Vanity | Girl with a Platter of Fruit | Venus and Adonis | Elector Fohn Frederick of Saxony | The Death of Actaeon. |
Related Artists:
Christian Molsted
(1862-1930) was a Danish artist who specialized in marine painting. He is best known for his painting of the frigate Niels Juel during the Battle of Helgoland on 9 May 1864. Born in Dragør on 15 October 1862, Mølsted was the son of fisherman Andreas Adolf Nikolaj Mølsted and Ane Hans-Nielsdatter. With financial support from a relative, he completed his school education in Copenhagen at Det tekniske Selskab where he graduated in 1879. After sailing to Madeira that summer on the frigate Jylland, he entered the Danish Academy in October 1880 with mentors such as Frederik Vermehren, Jorgen Roed, Julius Exner and Carl Bloch. During his studies, Mølsted travelled to Paris and London where he was able to observe contemporary art. He graduated from the Academy with a painting diploma in January 1885. He first exhibited in December 1884 and thereafter at the spring exhibitions. In 1889, he was awarded the Neuhausen Prize for his Skibe i Havnen ved Larsens Plads. His subjects are for the most part taken from the coasts around Copenhagen or in Jutland. Among the artist favorite subjects were the heroic battles of captains Tordenskjold and Willemoes. Historical details, as well as detailed information about the ships, was provided for the paintings by Otto Dorge, a Dragør local expert. Later in life, he also made genre paintings. Mølsted's works were widely appreciated for his perfectionist approach, his attention to historical detail and his ability to bring things to life. He died on 10 May 1930 in Dragør.
ZUCCHI, Jacopo
Italian Painter, ca.1540-1596. Jacopo Zucchi was an Italian painter of the Florentine school. Italian painter and draughtsman. He was trained in the studio of Vasari, whom he assisted in the decoration of the Palazzo Vecchio, Florence, as early as 1557. He accompanied Vasari to Pisa in 1561, from when dates his earliest known drawing, Aesculapius (London, BM). Between 1563 and 1565 he was again in Florence and is documented working with Vasari, Joannes Stradanus and Giovan Battista Naldini on the ceiling of the Sala Grande (Salone dei Cinquecento) in the Palazzo Vecchio; a drawing of an Allegory of Pistoia (Florence, Uffizi) is related to the ceiling allegories of Tuscan cities. In 1564 Zucchi entered the Accademia del Disegno and contributed to the decorations erected for the funeral of Michelangelo. He travelled to Rome with Vasari and was his chief assistant on decorations in the Vatican in 1567 and 1572,
WTEWAEL, Joachim
Dutch painter (b. 1566, Utrecht, d. 1638, Utrecht). Dutch painter and draughtsman. He was one of the last exponents of MANNERISM. From c. 1590 until 1628, the year of his latest known dated paintings, he employed such typical Mannerist formal devices as brilliant decorative colour, contrived spatial design and contorted poses. He sometimes combined such artifice with naturalism, and this amalgam represents the two approaches Dutch 16th- and 17th-century theorists discussed as uyt den geest ('from the imagination') and naer 't leven ('after life'). Wtewael's activity reflects the transition from Mannerism to a more naturalistic style in Dutch art. Slightly over 100 of his paintings and about 80 drawings are known. Subjects from the Bible and mythology predominate;