Titian. Sir Claude PhillipsЧитать онлайн книгу.

      What may legitimately intrigue in both Giorgione and Titian’s early years is not so much that in their earliest productions they leant to a certain extent on Giovanni Bellini, but that they were so soon independent. Neither of them is in any existing work seen to have the same absolutely dependent relationship with the veteran quattrocentist which Raphael for a time had with Perugino, and which Sebastiano Del Piombo in his early years had with Giorgione. This holds good to a certain extent also of Lorenzo Lotto, who in the earliest known examples – such as the Saint Jerome of the Louvre – is already emphatically Lotto. As his art passed through successive developments, however, he still showed himself open to more or less enduring influences from elsewhere. Sebastiano del Piombo, on the other hand, great master as he undoubtedly was in every phase, was never throughout his career free of influence. First, as a boy, he painted the puzzling Pietà, which, notwithstanding the authentic inscription, Bastian Luciani fuit descipulus Johannes Bellinus (sic) is so astonishingly like Cima that, without this piece of documentary evidence, it would even now pass as such. Next he became the most accomplished exponent of the Giorgionesque manner, save perhaps Titian himself. Then, migrating to Rome, he produced, in a quasi-Raphaelesque style still strongly tinged with the Giorgionesque, that series of superb portraits which under the name of Sanzio have acquired a worldwide fame. Finally, surrendering himself body and soul to Michelangelo, he remained enslaved by the tremendous genius of the Florentine to the very end of his career, only unconsciously allowing, from the force of early training and association, his Venetian origin to reveal itself.

      Giorgione and Titian were both born in the last quarter of the fifteenth century; Giorgione around 1477 and Titian approximately ten years later, although there is still an ongoing debate on that matter. Lorenzo Lotto’s birth is to be placed around the year 1480. Palma was born around 1480, Pordenone possibly around the years 1483–1484 and Sebastiano Del Piombo around 1485. This shows that most of the great protagonists of Venetian art during the earlier half of the cinquecento were born within a short period of about fifteen years – between 1475 and 1490.

      It is easy to understand how the complete renewal brought about by Giorgione on the basis of Bellini’s teaching and example operated to revolutionise the art of his own generation. He threw open to art the gates of life in its mysterious complexity, in its fullness of sensuous yearning mingled with spiritual aspiration. The fascination exercised both by his art and his personality was irresistible to his youthful contemporaries; the circle of his influence increasingly widened, until it might almost be said that the veteran Gian Bellini himself was brought within it. With Titian and Palma the germs of the Giorgionesque fell upon fruitful soil, and in each case produced a vigorous plant of the same family, yet with all its Giorgionesque colour of a quite distinctive kind. Titian, we shall see, carried the style to its highest point of material development, and made a new thing of it in many ways. Palma, with all his love of beauty in colour and form, in nature as in man, had a less finely attuned artistic temperament than Giorgione, Titian or Lotto. Morelli called attention to that energetic element in his mountain scenes, which in a way counteracted the marked sensuousness of his art, save when he interpreted the charms of the full-blown Venetian woman. The great Milanese critic attributed this to the rustic origin of the artist, showing itself beneath Venetian training. Is it not possible that a little of this frank unquestioning sensuousness on the one hand, of this terre à terre energy on the other, may have been reflected in the early work of Titian, though it be conceded that he influenced far more than he was influenced?[6] There is undoubtedly in his personal development of the Giorgionesque an extra element of something much nearer to the everyday world than is to be found in the work of his prototype, and this almost indefinable element is peculiar also to Palma’s art, in which it endures to the end. Thus there is a singular resemblance between the type of his fairly fashioned Eve in the important Adam and Eve of his earlier period now in the Prado – once, like so many other things, attributed to Giorgione – and the preferred type of youthful female loveliness as it is to be found in Titian’s Three Ages in the National Gallery of Scotland. This can also be found in his Sacred and Profane Love (Medea and Venus) in the Borghese Gallery, in such sacred pieces as the Madonna and Child with Saints Ulfo and Brigida which is now called Virgin and Child with Saints Dorothy and George in the Prado Museum of Madrid, and the large Madonna and Child with four Saints in Dresden. In both instances we have the Giorgionesque conception stripped of a little of its poetic glamour but retaining unabashed its splendid sensuousness, which is thus made to stand out more markedly. We notice, too, in Titian’s works of this particular group another characteristic which may be styled Palmesque, if only because Palma indulged in it in a great number of his Sacred Conversations and similar pieces. This is the contrasting of the rich brown skin and the muscular form of a male saint, or of a shepherd of the uplands, with the dazzling fairness, set off with hair of pale or ruddy gold, of a female saint or fair Venetian doing duty as a shepherdess or a heroine of Antiquity. Are we to look upon such distinguishing characteristics as these as wholly and solely Titian of the early period? If so, we ought to assume that what is most distinctively Palmesque in the art of Palma came from the painter of Cadore, who in this case should be taken to have transmitted to his brother in art the Giorgionesque in the less subtle shape into which he had already transmuted it. But should not such an assumption as this, well founded as it may appear in the main, be made with all the allowances that the situation demands?

      Titian (Tiziano Vecellio), The Annunciation, c. 1519–1523.

      Oil on wood, 179 × 207 cm. Il Duomo, Treviso.

      Titian (Tiziano Vecellio), The Virgin and Child between Saint Anthony of Padua and Saint Roch, c. 1510.

      Oil on canvas, 92 × 133 cm. Museo Nacional del Prado, Madrid.

      When a group of young and enthusiastic artists, eager to overturn barriers, are found painting more or less together, it is not so easy to unravel the tangle of influences and draw hard-and-fast lines everywhere. One or two more modern examples may roughly serve to illustrate. Take, for instance, the friendship that developed between the youthful Bonington and the young Delacroix while they copied together in the galleries of the Louvre. One would communicate to the other something of the stimulating quality, the frankness, and variety of colour which at that moment distinguished the English from the French school; the other would contribute, with the fire of his romantic temperament, to the art of the young Englishman who was some three years his junior. And with the famous trio of the Pre-Raphaelite Brotherhood – Millais, Rossetti and Holman Hunt – who is to state ex cathedra where influence was received, where transmitted; or whether the first may fairly be held to have been, during the short time of their complete union, the master-hand, the second the poet-soul, the third the conscience of the group?

      In days of artistic upheaval and growth such as the last years of the fifteenth century and the first years of the sixteenth, the milieu must count for a great deal. It must be remembered that the men who most influence a time, whether in art or letters, are just those who, deeply rooted in it, come forth as its most natural development. Let it not be doubted that when the first sparks of the Promethean fire had been lit in Giorgione’s breast, which, with

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