It is as impossible to keep untouched by what happens to your neighbours as to have a bright sky over your own house when it is stormy everywhere else. Spain did not directly dominate Venice, but the new fashions of life and thought inaugurated by her nearly universal triumph could not be kept out. Her victims, among whom the Italian scholars must be reckoned, flocked to Venice for shelter, persecuted by a rule that cherished the Inquisition. Now for the first time Venetian painters were brought in contact with men of letters.
As they were already, fortunately for themselves, too well acquainted with the business of their own art to be taken in tow by learning or even by poetry, the relation of the man of letters to the painter became on the whole a stimulating and at any rate a profitable one, as in the instance of two of the greatest, where it took the form of a partnership for mutual advantage. It is not to our purpose to speak of Aretino's gain, but Titian would scarcely have acquired such fame in his lifetime if that founder of modern journalism, Pietro Aretino, had not been at his side, eager to trumpet his praises and to advise him whom to court.
The Triumph of Spain
The overwhelming triumph of Spain entailed still another consequence. It brought home to all Italians, even to the Venetians, the sense of the individual's helplessness before organized power -- a sense which, as we have seen, the early Renaissance, with its belief in the omnipotence of the individual, totally lacked. This was not without a decided influence on art. In the last three decades of his long career, Titian did not paint man as if he were as free from care and as fitted to his environment as a lark on an April morning. Rather did he represent man as acting on his environment and suffering from its reactions. He made the faces and figures show clearly what life had done to them.
The great 'Ecce Homo' and the 'Crowning with Thorns' are imbued with this feeling no less than the equestrian portrait of Charles the Fifth. In the 'Ecce Homo' we see a man with a godlike personality, humbled by the imperial majesty, broken by the imperial power, and utterly unable to hold out against them. In the 'Crowning with Thorns' we have the same godlike being almost brutalized by pain and suffering. In the portrait of the Emperor we behold a man whom life has enfeebled, one who has to meet a foe who may crush him.
Yet Titian became neither soured nor a pessimist. Many of his late portraits are even more energetic than those of his early maturity. He shows himself a wise man of the world. 'Do not be a grovelling sycophant,' some of them seem to say, 'but remember that courtly manners and tempered elegance can do you no harm.' Titian, then, was ever ready to change with the times, and on the whole the change was towards a firmer grasp of reality, necessitating yet another advance in the painter's mastery of his craft.
Titian's real greatness consists in the fact that he was as able to produce an impression of greater reality as he was ready to appreciate the need of a firmer hold on life. In painting, as has been said, a greater effect of reality is chiefly a matter of light and shadow, to be obtained only by considering the canvas as an enclosed space, filled with light and air, through which the objects are seen. There is more than one way of getting this effect, but Titian attains it by the almost total suppression of outlines, by the harmonizing of his colours, and by the largeness and vigour of his brushwork. In fact, the old Titian was, in his way of painting, remarkably like some of the best French masters of the end of the nineteenth century. This makes him only the more attractive, particularly when with handling of this kind he combined the power of creating forms of beauty such as he has given us in the 'Wisdom' of the Venetian Library of San Marco or in the 'Shepherd and Nymph' of Vienna.
The difference between the old Titian, author of these works, and the young Titian, painter of the 'Assumption' and of the 'Bacchus and Ariadne', is the difference between the Shakespeare of the MidsummerNight's Dream and the Shakespeare of the Tempest. Titian and Shakespeare begin and end so much in the same way by no mere accident. They were both products of the Renaissance, they underwent similar changes, and each was the highest and completest expression of his own age. This is not the place to elaborate the comparison, but I have dwelt so long on Titian, because, historically considered, he is the only painter who expressed nearly all of the Renaissance that could find expression in painting. It is this which makes him even more interesting than Tintoretto, an artist who in many ways was deeper, finer, and even more brilliant.
Renaissance Art, Renaissance Painting, Giorgione, Italian Art, Lotto, Giotto, The School of Leonardo, Raphael, Tintoretto, Paolo Veronese, Velasquez, Longhi, Massacchio, Verocchio, Naturalism, Duccio, Simone Martini, Renaissance Painters, Donatello, Pisanello, Liberale, Boticelli, Melozzo da Forli, Luca Signorelli, Michelangelo, Butinole, Zenalle, Bramante, Bramantino, Correggio, Leoardo da Vinci, Tactile Values, Humanism, The School of Verona, The Umbrian School, The School of Perugia, Domenico Brusasorci, Vincenzo Foppa, Milanese Art, Venetian Art, The School of Piedmont, Florence Art