Italian High Renaissance Painter, ca.1485-1576 Italian painter active in Venice. As a young man he was taught by the Bellini family and worked closely with Giorgione. His early works are so similar in style to Giorgione's as to be indistinguishable, but soon after Giorgione's early death Titian established himself as the leading painter of the Republic of Venice. Among his most important religious paintings is the revolutionary and monumental Assumption (1516 ?C 18) for Santa Maria dei Frari, in which the Virgin ascends to heaven in a blaze of colour accompanied by a semicircle of angels. Titian was also interested in mythological themes, and his many depictions of Venus display his work's sheer beauty and inherent eroticism. Bacchus and Ariadne (1520 ?C 23), with its pagan abandon, is one of the greatest works of Renaissance art. Titian was sought after for his psychologically penetrating portraits, which include portrayals of leading Italian aristocrats, religious figures, and Emperor Charles V. He reached the height of his powers in The Rape of Europa (c. 1559 ?C 62), one of several paintings done for Philip II of Spain. He was recognized as supremely gifted in his lifetime, and his reputation has never declined.  Related Paintings of Titian :. | Portrait of Cosme de Medicis | The Bacchanal of the Andrians | Portrat einer Dame in Weib | Elector Fohn Frederick of Saxony | Diana and Callisto by Titian |
Related Artists:
Gerard ter Borch the Younger
painted Mother Combing the Hair of Her Child. in 1652
Ralph Barton
American Artist, 1891-1931 American Artist, 1891-1931,1921 Vanity Fair caricature; use cursor to identify figuresBarton's first caricature was of Thomas Hart Benton; his last, of Charlie Chaplin. In between he knew everyone and drew everyone in the social and culture scene of New York. Some of his most famous works were group drawings, and perhaps the most noted was a stage curtain created for a 1922 revue, depicting an "audience" of 139 faces looking back at the real theater-goers. "The effect was electrifying, and the applause was great," said another caricaturist of the era, Aline Fruhauf. He also directed a short film, Camille, described by an IMDB contributor as a "home movie version" of the Dumas novel with a cast of his many actor, artist, and other celebrity friends.This movie was made available as a bonus in a 2003 release of Chaplin's A Woman of Paris. At the height of his popularity, Barton enjoyed not only the acquaintance of the famous, but a solid and impressive income. All of this concealed a terribly unhappy life. He was beset by manic-depressive disorder, and each of his four marriages ended in divorce. A self-portrait, painted around 1925 and modeled on an el Greco.
William Scrots
William (or Guillim) Scrots (or Scrotes or Stretes) (active 1537-1553) was a painter of the Tudor court and an exponent of the Mannerist style of painting in the Netherlands. He is first heard of when appointed a court painter to Mary of Habsburg, Regent of the Netherlands, in 1537. In England, he followed Hans Holbein as King's Painter to Henry VIII in 1546, with a substantial annual salary of £62 10s, over twice as much as Holbein's thirty pounds a year. He continued in this role during the reign of the boy king Edward VI. His salary was stopped on Edward's death in 1553, after which it is not known what became of him, though it is presumed he left England. Edward VI, attributed to Scrots, Hampton Court. Portrait of Edward VI in distorted perspective, 1546.Little more is known of Scrots than that his paintings showed an interest in ingenious techniques and detailed accessories. Scrots was paid 50 marks in 1551 for three "great tables", two of which were portraits of Edward delivered to the ambassadors Thomas Hoby and John Mason as gifts for foreign monarchs, and the third a "picture of the late earle of Surrey attainted." Two full-length portraits of Edward VI in a pose similar to that of Holbein's portrait of his father, one now in the Royal Collection (left) and another now in the Louvre (below), are attributed to Scrots and are likely to be these two paintings. Scrots also painted an anamorphic profile of Edward VI, distorted so that it is impossible to view it normally except from a special angle to the side. This optical trick is similar to that used by Holbein in his painting The Ambassadors and in contemporary portraits of Francis I and Ferdinand I. Later, when the painting was exhibited at Whitehall Palace in the winter of 1591-92, it created a sensation, and important visitors were all taken to see it.