Presentamos en este artículo noticias inéditas sobre la vida y la obra del pintor Jerónimo Sánchez Coello, hermano del afamado pintor de cámara del rey Felipe II, Alonso, durante su estancia en ...Sevilla a finales del siglo XVI, tras su formación en el taller de Tiziano.
Sin entrar en el tema de la autografía integral o parcial de las pinturas de Velázquez, para la que se esperan nuevos estudios técnicos del Prado que se publicarán próximamente, este artículo ofrece ...una síntesis de los estudios sobre las pinturas del Salón de los Reinos del Buen Retiro de Madrid (1628-1634/35) y propone dos nuevas fuentes iconográficas para los retratos ecuestres de los Habsburgo de España. Por un lado, se subraya la importancia de la experiencia visiva de las entradas reales durante el reinado de Felipe III y Margarita de Habsburgo a partir de 1599, verdaderas performances urbanas que ofrecían un importante espacio para elaborar una iconografía oficial y de pareja de los reyes Habsburgo a caballo. Por el otro, se señala la importancia de la circulación de los grabados flamencos, como la serie de los caballos en corvette de Johannes Stradanus (Ioannes van der Straet, 1523-1605), impresos en 1580 y 1585, y los numerosos retratos ecuestres de varios reyes nórdicos de Cornelis Anthonisz (c. 1499-1553). Retratista «popular» de Carlos V, Anthonisz desarrolló en particular el motivo de la reina amazona y en el ámbito borgoñón. En definitiva, este artículo sugiere una línea de investigación «nórdica» y «habsbúrgica» para el nacimiento del retrato ecuestre en España, por otro lado tradicionalmente explicado con la recuperación y traducción de modelos escultóricos romanos e italianos (Marco Aurelio, Tacca), y con la obra pictórica de Tiziano y de Rubens.
Michael T. Coughlin theorizes the possibility of interpreting art and architectural form as an index for Logos in Early Modern Italy, while simultaneously proposing a theory about the origin of ...Freemasonry from a historical perspective.
In this article, we explore and problematize the coming out discourses of Ricky Martin and Tiziano Ferro’s through a creative (critical) discourse analysis. We first contextualize the historicity of ...Ricky Martin and Tiziano Ferro’s artistic careers and argue that their coming out process is a privileged laboratory to understand the ways strategies and tactics of discourses are deployed. Second, through a Critical Discourse Analysis and collaborative writing inquiry approach, we present a creative fictional dialogue to showcase our analysis. This can be called creative (critical) discourse analysis. Third, we further reflect and theorize about these coming out discourses using Queer Theory, Governability, and the concept of Glory and the Media as privileged spaces for power. This will lead us to question the centered subject or a solid identity, the manifestations of coming out discourses, and the role of Glory and the Media in the socialization process.
Venetian painter Tiziano Vecellio, more commonly referred to as Titian, created a cycle of mythological paintings based on scenes from Ovid’s Metamorphoses for King Philip II of Spain. These works ...are often viewed through an eroticized lens due to this inclusion of nude mortals and goddesses. This thesis argues for the cycle’s moral and religious significance for Philip by utilizing comparative iconography, scholarly texts, and translated allegorical material.
The Spanish film director Pedro Almodóvar tends to use a set of significant details in order to create a network of senses in his films. This feature is also present in the film La piel que habito ...throughout some artistic works which are closely related to the theme and the plot. This paper analyses the role that some works of some famous artists, such as Tiziano Vecellio, Louise Bourgeois, Gillermo Pérez Villalta and Juan Gatti, play in this film. This information helps to recognize how Almodóvar modifies both the classical and modern works of art in order to give them new meaning by means of the transformations. Tiziano's paintings reveal doctor Robert's desire, whereas Louise Bourgeois's works show Vera's desire and her real life as a prisoner. Pérez Villalta's works expose the relationship between Robert and Vera. Juan Gatti's paintings present the dichotomy of the skin and the ego, the main message of the film. Thus, all the artistic works that appear in La piel que habito refer to the relationship between the two protagonists or their mental world.PUBLICATION ABSTRACT
Venetian patrician portraits of the late fifteenth century document deeply ingrained expectations of that class. Largely static and impassive, the subjects of independent portraits appear as slight ...variations on a theme, rather than as studies of individuals. In contrast, Titian's (Tiziano Vecellio, ca. 1488-1576) early portraits seem to represent a significant departure from tradition and reveal the artist's commitment to portraying personality, as well as physiognomy. In this article, I suggest that Titian's success was due in part to his knowledge of and sensitivity to the social constraints of late fifteenth-century Venetian culture. In turn, this allowed him to consciously accommodate traditional expectations of his patrician clientele while incrementally introducing the modern portrait.
Este artículo abordará las relaciones entre el literato veneciano Lodovico Dolce y el pintor Tiziano Vecellio tomando como referente el Dialogo della pittura publicado por el primero en 1557 y ...evaluando a continuación otras obras dolceanas.
93 - the drape floating in the waters of the Grand canal
69 - some works of the Tiziano portraitista in the service of popes and emperors:
85 - the\ "Pala Pesaro\" in the church of the Frari in ...Venice
10 - details of the work revealing the painter's use of a dense pictorial matter laid out with the spatula or hands
57 - detail and set of the\ "Venus of Urbino\" of 1538
90 - the focus of the work with the tragic event immersed in a night setting torn apart by flashes and glare
8 -\ "the punishment of Marsia\," an extreme work of the artist characterized by an uneasy pictorial drafting and a gloomy palette
A documentary of a historical-artistic subject that illustrates the work of the genius of Venetian painting of 500: Titian, master of tonal color and, in his late activity, anticipator of a painting understood as a means of expression of a tragic existential condition
30 - details of Vittore Carpaccio's painting, at the end of the '400, with\ "the miracle of the cross\" set, as a fact of news, in the lodge of a Venetian dwelling on the Grand canal
65 - some details of the golden pictorial composition
22 - Piazza S. Giovanni and Paolo in Venice with the Colleoni monument taken over by the canal
41 - a liturgical object hung in the church of the Frari
71 - details and set of the portrait of Pietro Bembo in the Cardinals
39 - upward resumption of the choir coverage of the church of the Frari
91 - the dark courtyard of a Venetian dwelling with a burning fire in the middle
59 - details of the canvas dominated by the sensual nude of a Venus lying in a lordly Venetian palace
15 - views of the Dolomites near Pieve di Cadore
44 - focusing of manuscript pages with the signature of Titian Vecellio
7 - details and ensemble framing of the funeral monument in Titian in the church of Santa Maria Gloriosa dei Frari
75 - the great celebratory portrait of\ "Carlo V on Cavallo\" performed by Titian in 1548, today at Prado
94 - the waters of the lagoon lighted by sunlight; a self-portrait of Titian appears in the background of this play of lights
74 - details and set of the merciless portrait of Pope\ "Paul III Farnese\"
33 - the Fondaco porticoed façade of the Germans
79 - a detail of the painting: the proud face of a now mature Titian
67 - details of the work: the two women, the one dressed sumptuously and the other naked, sitting at the exteriors of the sarcophago-source; the reliefs of the sarcophagus; the landscape in the background
53 - details of the painting: the golden rain; the naked body of the Danae lying on a bed; the putto at the foot of the figure
86 - focus of the grandiose and innovative composition with the group of our lady and Saints placed diagonally within an architecture of moumental columns and portraits of the Pesaro donors in the foreground
38 - details of the painted table: the layer of clouds and angels in the upper part; the group of the monumental and astonished apostles in the lower register; our lady ascending to heaven with broad and humble gesture
66 - the masterpiece of Titian young:\ "sacred love and profane love\"
31 - the facades of some palaces on the Grand canal
28 - the faithful and meticulous reproduction of the façade of San Marco and the square in front of it in a painting by Gentile Bellini
25 - detail of the work characterized by a view of the Grand canal
55 - the painting of Titian,\ "Venus and the organist\," preserved at the Prado Museum
18 - the group of the foreground figures of G. Bellini
48 - the marble portrait of Titian affixed throughout the aforementioned portal
62 - focus of the\ "Venus in the mirror\"
6 - details and set of the canvas
9 - details of the canvas depicting the myth of Apollo escorting Marsia
58 - the little figures in the background
56 - details of the work
54 - corners of the Venetian dwelling of Titian
52 - the\ "Danae\" of the Capodimonte Museum.
51 - Titian's atelier
50 - the interior of the house
46 - the embattled exteriors of the house
43 - interior of the Titian house in Venice
42 - reflections of light in the channels of Venice
40 - detail of the\ "Assunta\"
19 - the wooded landscape in the background of Titian's hand
4 - the\ "piety\," Tiziano's last work
35 - the Gothic interiors of the church of the Frari
32 - a Venice canal
3 - reflections of light on the lagoon
29 - view of the Rialto bridge from the Grand canal
27 - detail of the Roman-Gothic façade
23 - canals, palaces and bridges of Venice
21 - a row of trees
2 - the banks of the city caught at sunset
16 - trees of a wood
14 - the rustic environments of the house
12 - the mountains of Cadore
11 - framing the tragic painted scene
1 - views of Venice from the lagoon
77 - focus of portrait of\ "Ranuccio Farnese\"
36 - the apse of the church with the grandiose altarpiece of the\ "Assunta\" made by Titian in 1516-1518
60 - focus, in detail, of the famous Tiziano painting entitled\ "flora\"
34 - the detached fresco, dominated by the monumental figure de\ "the justice\," performed by Titian for the Fondaco of the Germans.
24 - focus of the painting\ "the miracle of the cross\" by Gentile Bellini of the end of the '400
47 - the marble coats of arms that decorate the entrance portal to the courtyard of the house
20 - details and set of pictorial composition
26 - the bell tower and façade of the basilica of San Marco
13 - exterior and interior of the Titian native house in Pieve di Cadore
61 - glimpse of a loggia with arches on columns
88 - detail of the\ "martyrdom of San Lorenzo\": painting of a Titian now sixty and in crisis for the advent of the new Mannerist generation
84 - detail of the painting: the realistic still life at the foot of the announced Virgin
87 - ensemble framing of the sacred shovel performed in the twenties of the '500
17 - focus of the\ "feast of the gods\," painting performed by the master Giovanni Bellini and completed in the background by the young Titian
37 - focus of the composition that depicts in fiery tones the assumption of the Virgin in heaven as an event in place
5 - focus of the painting by the bruised hues and the vibrant, multifaceted pictorial forms
73 - details of the work revealing the painter's quick, loose brushstroke
49 - the monumental and well-deserved entrance door of the stately home of Titian
81 - the mighty, statuary figure of the\ "Saint John the Baptist\" in a landscape
83 - a picture of the mature Titian depicting an aristocratic\ "Annunciation\"
45 - the registration on the entrance door of the Venetian house of Titian:\ "HANC Domum coluit Titianus Vecellius\"
64 - details and set of the painting depicting\ "Venus blessing love\"
92 - an armchair with a red damask drape
89 - the large canvas attached to a wall
82 - details of the painting
80 - a series of anatomical drawings
78 - the\ "self-portrait\" in Berlin
76 - details of the work
72 - the portrait of Pietro Aretino
70 - the portrait of Cardinal Alessandro Farnese
68 - canals, palaces and bridges of the lagoon city
63 - details of the mythological-allegorical painting
Un documentario di soggetto storico-artistico che illustra l'opera del genio della pittura veneta del '500: Tiziano, maestro del colore tonale e, nella tarda attività, anticipatore di una pittura intesa come mezzo di espressione di una tragica condizione esistenziale.
1 - Vedute di Venezia dalla laguna
2 - le riva della città colte al tramonto
3 - riflessi di luce sulla laguna
4 - la "Pietà", ultima opera di Tiziano
5 - messa a fuoco del dipinto dalle livide tonalità e dalle vibranti, sfatte forme pittoriche
6 - particolari e insieme della tela
7 - dettagli e inquadratura d'insieme del monumento funebre a Tiziano nella chiesa di Santa Maria Gloriosa dei Frari
8 - "La punizione di Marsia", opera estrema dell'artista caratterizzata da un'inquieta stesura pittorica e da una cupa tavolozza
9 - particolari della tela raffigurante il mito di Apollo che scortica Marsia
10 - dettagli dell'opera che rivelano l'impiego da parte del pittore di una densa materia pittorica stesa con la spatola o con le mani
11 - inquadratura della tragica scena dipinta
12 - le montagne del Cadore
13 - esterni ed interni della casa natia di Tiziano a Pieve di Cadore
14 - i rustici ambienti della casa
15 - panorami delle Dolomiti nei pressi di Pieve di Cadore
16 - alberi di un bosco
17 - messa a fuoco del "Festino degli dei", dipinto eseguito dal maestro Giovanni Bellini e completato nello sfondo dal giovane Tiziano
18 - il gruppo delle figure in primo piano di mano di G. Bellini
19 - il paesaggio boschivo sullo sfondo di mano di Tiziano
20 - particolari e insieme della composizione pittorica
21 - un filare di alberi
22 - piazza S.S. Giovanni e Paolo a Venezia con il monumento al Colleoni ripresa dal canale
23 - canali, palazzi e ponti di Venezia
24 - messa a fuoco del dipinto "Il miracolo della croce" di Gentile Bellini della fine del '400
25 - particolare dell'opera caratterizzata da una veduta del Canal Grande
26 - il campanile e la facciata della basilica di San Marco
27 - particolare della facciata romanico-gotica
28 - la riproduzionde fedele e minuziosa della facciata di San Marco e della piazza antistante in un dipinto di Gentile Bellini
29 - veduta del Ponte di Rialto dal Canal Grande
30 - particolari del dipinto di Vittore Carpaccio, della fine del '400, con "Il miracolo della croce" ambientato, come un fatto di cronaca, nella loggia di una dimora veneziana sul Canal Grande
31 - le facciate di alcuni palazzi sul Canal Grande
32 - un canale di Venezia
33 - la facciata porticata del Fondaco dei Tedeschi
34 - l'affresco staccato, dominato dalla monumentale figura de "La Giustizia", eseguito da Tiziano per il Fondaco dei Tedeschi
35 - gli interni gotici della chiesa dei Frari
36 - l'abside della chiesa con la grandiosa pala d'altare dell' "Assunta" realizzata da Tiziano nel 1516-1518
37 - messa a fuoco della composizione che raffigura in toni infuocati l'Assunzione della Vergine in cielo come un evento in atto
38 - particolari della tavola dipinta: lo str
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