Book Description
In the quarter century since the last catalogue raisonné of Titian, more research has been carried out on the painter than in the whole of the previous four hundred years. New documentation has come to light, pictures have been cleaned and major exhibitions have allowed for scrupulous comparisons to be made. As a result, Titian's whole oeuvre has been reassessed, many old questions of attribution settled-- and a few new ones raised.

Titian's place as one of the giants of Western culture has never been in doubt. He represents the culmination of the Venetian school, evolving a technique of free, spontaneous brushwork and a rendering of form through color that amazed his contemporaries and is now seen by some as foreshadowing Impressionism. In a long life of nearly ninety years he painted hundreds of canvases, ranging from moving and intense religious images, through penetratingly psychological portraits (including Charles V and Philip II of Spain) to sensuously erotic mythological scenes like Bacchus and Ariadne and the Venus of Urbino. Over 250 paintings are now attributed to him. All are illustrated here with detailed commentaries giving the circumstances of their commission, their subsequent history and stylistic analysis. Also included is an exhaustive bibliography. The fruit of many years' research, Titian is a monument of scholarship that will remain definitive for the foreseeable future.



About the Author
Filippo Pedrocco is an authority on Venetian art and the superintendent of the Museo del Settecento Veneziano in the Ca'Rezzonico. He has collaborated on many important exhibitions, including The Glory of Venice, which traveled to London and Washington, D.C. in 1994, and Giambattista Tiepolo 1696-1996, which traveled to Venice and New York in 1996. He is the author of Rizzoli's Painting in Renaissance Italy and the co-author of Rizzoli's Giorgione.

FROM THE PUBLISHER

In the quarter century since the last catalogue raisonn￯﾿ﾽ of Titian, more research has been carried out on the painter than in the whole of the previous four hundred years. New documentation has come to light, pictures have been cleaned and major exhibitions have allowed for scrupulous comparisons to be made. As a result, Titian's whole oeuvre has been reassessed, many old questions of attribution settled-and a few new ones raised. This new book is the first work to encompassess his entire oeuvre.

Titian's place as one of the giants of Western culture has never been in doubt. He represents the culmination of the Venetian school, evolving a technique of free, spontaneous brushwork and a rendering of form through color that amazed his contemporaries and is now seen by some as foreshadowing Impressionism. In a long life of nearly ninety years he painted hundreds of canvases, ranging from moving and intense religious images, through penetratingly psychological portraits (including Charles V and Philip II of Spain) to sensuously erotic mythological scenes like Bacchus and Ariadne and the Venus of Urbino. Over 250 paintings are now attributed to him. All are illustrated here with detailed commentaries giving the circumstances of their commission, their subsequent history and stylistic analysis. Also included is an exhaustive bibliography. The fruit of many years' research, Titian is a monument of scholarship that will remain definitive for the forseeable future.

Author Bio: Filippo Pedrocco is an authority on Venetian art and was superintendant of the Museo del Settecento Veneziano in the Ca'Rezzonico. He has collaborated on many important exhibitions, including The Glory of Venice, which traveled to London and Washington, D.C. in 1994, and Giambattista Tiepolo 1696-1996, which traveled to Venice and New York in 1996. He is the author of Rizzoli's Painting in Renaissance Italy and the co-author of Rizzoli's Giorgione.

Terisio Pignatti has been the director of the Civil Museum in Venice since 1974 and has organized several important exhibitions. He has taught art history at Wake Forest University, the University of California at Berkeley, and at Harvard University. He collaborated with Filippo Pedrocco on Giorgione.

FROM THE CRITICS

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