Titian — страница 4

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divine illumination. The light becomes more intense and golden as we cross the boundary between the mundane and the sacred realms, reaching its full density when it reaches God. This golden light and illumination embodies Mary?s triumph over sin and death. The extent to which the role of patronage inhibited artistic innovation We have an inhibited ability to interpret works as reflections of the artist?s innovation and artistic development since they were largely contrived according to the demands of the patrons. In Titian?s Pesaro, Jacopo Pesaro?s demands were well documented. The terms of Titian?s commission stipulated that he include full-length kneeling portraits of Jacopo, his brothers and nephew . In meeting these requirements, this could perhaps account for Titian?s

unusual composition, and if true, it negates the interpretation of significant stylistic innovation. It appears Pesaro wanted numerous images represented in his altarpiece, supported by Ettlinger who studied the iconography of the columns: ?Pesaro?believed that a successful integration of all elements could be achieved? . Alongside the depiction of the Immaculate Conception (and his veneration of it), the inclusion of his family, and emblems which celebrated his illustrious military career were involved. The presence of so much diverse symbolism complicates an interpretation of the artwork?s iconography, which has been demonstrated in the plethora of scholars? explanations in regard to the columns in the background of the Pesaro altarpiece. As a Mendicant friar, Fra Germano

Casale could not own property, although he is commerated as the ?patron? of the Assunta . The date of unveiling and his name is inscribed on the frame, which sufficiently serves as documentation of the patronage and commission. Even if Germano relied on bequests to the Frari to fund the work, his vested interests are apparent when we read of his constant harassing of Titian while it was being painted. It reinforces the notion raised with the Pesaro, that the presence of the patrons places an influence on the outcome of the painting, so much so that it enables interpretations based on the political and social interests of the patrons. It is the many possible readings of these works, not only from a stylistic and iconographic point of view, that make the Assunta and Pesaro such

enigmatic and monumental works. In capturing the ideals and beliefs from their time while exhibiting such progressive artistic features, they hold great importance for the development of painting in Venice. 1. Anderson, J. ?The Genius of Venice 1500-1600?, in Art International, vol.27 April/June 1984 p.15-22 2. Ettlinger, H. ?The Iconography of the Columns in Titian?s Pesaro Altarpiece?, in Art Bulletin vol.61, 1979 p.59-67 3. Goffen, R. Piety and Patronage in Renaissance Venice: Bellini, Titian and the Fransiscans, New Haven, Yale (1996) 4. Humfrey, P. The Altarpiece in Renaissance Venice, New Haven and London (1993) 5. Licht, F. ?Titian: The Majestic Voice of All Venice?, in Art International no.11 Summer 1990 p.90-93 6. Ricketts, C. Titian Methuen & Co.Ltd, London, 1910 7.

Rosand, D. Painting in Cinquecento Venice: Titian, Veronese, Tintoretto, New Haven and London (1982) 8. Rosenthal, M. ?In my view? Titian?s reputation: the limitations of history?, in Apollo, Dec. ?93 p.395-8 9. Tietze, H. Titian: The Paintings and Drawings The Phaidon Press Ltd, London 1950