Titian, the Pesaro, and the Frari in the Venetian Renaissance
Different Strokes for Different Folks
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This monograph parses two early paintings by theVenetian High Renaissance artist Titian. His earliest extantwork St. Peter Enthroned, with Donor and Pope is a wonderful, ifsomewhat awkward, completion of a commission begun by GiovanniBellini. Scholarly controversies are examined and a securetime-frame of 1506 to the first half of 1507 is advanced, as wellas the interpretation of an ex voto for the patron, JacopoPesaro, as prideful recognition of his commission as papaladmiral in the Christian crusade against the Turks. This patron usedart as a means to promote his ambitions, and Titian used it...
This monograph parses two early paintings by the
Venetian High
Renaissance artist Titian. His earliest extant
work St. Peter
Enthroned, with Donor and Pope is a wonderful, if
somewhat
awkward, completion of a commission begun by Giovanni
Bellini.
Scholarly controversies are examined and a secure
time-frame of
1506 to the first half of 1507 is advanced, as well
as the
interpretation of an ex voto for the patron, Jacopo
Pesaro, as
prideful recognition of his commission as papal
admiral in the
Christian crusade against the Turks. This patron used
art as a
means to promote his ambitions, and Titian used it to
demonstrate
his ability to compete with Giovanni Bellini.
The second work examined, the Pesaro Altarpiece, in
situ at the
Frari, had a long creative gestation which included
several changes
in composition that culminated in a new standard for
pale altarpieces and sealed Titian s reputation as the
leader of the
Venetian school. This paper demystifies and
disproves some art
historical interpretations that have confused
understanding of
Titian s artistry and the significance of the painting.
Venetian High
Renaissance artist Titian. His earliest extant
work St. Peter
Enthroned, with Donor and Pope is a wonderful, if
somewhat
awkward, completion of a commission begun by Giovanni
Bellini.
Scholarly controversies are examined and a secure
time-frame of
1506 to the first half of 1507 is advanced, as well
as the
interpretation of an ex voto for the patron, Jacopo
Pesaro, as
prideful recognition of his commission as papal
admiral in the
Christian crusade against the Turks. This patron used
art as a
means to promote his ambitions, and Titian used it to
demonstrate
his ability to compete with Giovanni Bellini.
The second work examined, the Pesaro Altarpiece, in
situ at the
Frari, had a long creative gestation which included
several changes
in composition that culminated in a new standard for
pale altarpieces and sealed Titian s reputation as the
leader of the
Venetian school. This paper demystifies and
disproves some art
historical interpretations that have confused
understanding of
Titian s artistry and the significance of the painting.
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