Famous European Artists

by Sarah Knowles Bolton

Says one writer, "Whilst Giorgione showed a fervid and original spirit, and opened up a new path, over which he shed a light that was to guide posterity, Titian exhibited in his creations a grander but more equable genius, leaning at first, indeed, on Giorgione's example, but expanding, soon after, with such force and rapidity as to place him in advance of his rival, on an eminence which no later craftsman was able to climb. Titian was characterized by this, that he painted flesh in which the blood appeared to mantle, whilst the art of the painter was merged in the power of a creator.

"He imagined forms of grander proportions, of more sunny impast, of more harmonious hues, than his competitors. With incomparable skill he gave tenderness to flesh, by transitions of half-tone and broken contrasted colors. He moderated the fire of Giorgione, whose strength lay in resolute action, fanciful movement, and a mysterious artifice in disposing shadows contrasting darkly with hot red lights, blended, strengthened, or blurred so as to produce the semblance of exuberant life."

It is said by some writers that Giorgione never forgave Titian for excelling him in the frescos of the Fondaco; but, however this may be, when the noted artist and poet died, soon after, at the age of thirty-four, Titian completed all his unfinished pictures. Giorgione loved tenderly a girl who deserted him through the influence of Morto da Feltri, an intimate friend, who lived under his roof. The latter was killed in the battle of Zara in 1519, after his friend Giorgione had died of a broken heart at the loss of his beloved.

Between 1508 and 1511 Titian painted several Madonnas, one in the Belvedere at Vienna, one in Florence, one in the Louvre, and the beautiful "Madonna and St. Bridget" now at Madrid.

"St. Bridget stands with a basin of flowers in her hand, in front of the infant Saviour, who bends out of the Virgin's arms to seize the offering, yet turns his face to his mother, as if inquiring shall he take it or not. Against the sky and white cloud of the distance, the form of St. Bridget alone is relieved. The Virgin and the saint in armor to the left stand out in front of hangings of that gorgeous green which seems peculiar in its brightness to the Venetians. With ease in action and movement, a charming expression is combined. The juicy tints and glossy handling are those of Titian's Palmesque period; and St. Bridget is the same lovely girl whose features Palma painted with equal fondness and skill in the panel called Violante, at the Belvedere of Vienna.... Titian shows much greater fertility of resource in the handling of flesh than Palma, being much more clever and subtle in harmonizing light with half-tint by tender and cool transitions of gray crossed with red, and much more effective in breaking up shadow with contrasting touches of livid tone, yet fusing and blending all into a polished surface, fresh as of yesterday, and of almost spotless purity, by the use of the clearest and finest glazings that it is possible to imagine."

Titian was now thirty-four, with probably the same love for Violante in his heart, but still poor, and struggling with untiring industry for the great renown which he saw before him.

At this time Titian painted one of his most noted works, thought by some to be his masterpiece, "The Tribute Money," now in the museum at Dresden. It was painted at the request of Alfonso d'Este, Duke of Ferrara. Scanelli, who wrote in 1655, tells this story concerning the picture.

"Titian was visited on a certain occasion by a company of German travellers, who were allowed to look at the pictures which his studio contained. On being asked what impression these works conveyed, these gentlemen declared that they only knew of one master capable of finishing as they thought paintings ought to be finished, and that was Dürer; their impression being that Venetian compositions invariably fell below the promise which they had given at their first commencement.

"To these observations Titian smilingly replied, that if he had thought extreme finish to be the end and aim of art, he too would have fallen into the excesses of Dürer. But, though long experience had taught him to prefer a broad and even track to a narrow and intricate path, yet he would still take occasion to show that the subtlest detail might be compassed without sacrifice of breadth; and so produced the Christ of the Tribute Money."

Crowe and Cavalcaselle say, "Vasari reflects an opinion which holds to this day, that the 'head of Christ is stupendous and miraculous.'" It was considered by all the artists of his time as the most perfect and best handled of any that Titian ever produced; but for us it has qualities of a higher merit than those of mere treatment. Single as the subject is, the thought which it embodies is very subtle.