Titian
Titian, born as Tiziano Vecelli or Tiziano Vecellio, was an Italian Renaissance painter. Titian was primarily known for his religious, spiritual, and mythological series. His popularity grew throughout the 16th century, especially when the Holy Roman Emperor Charles V requested a series of paintings.
The Three Ages of Man (1514)
Titian’s, Three Ages of Man, portrays the human life cycle in three scenes.
To the right, we see two infants and what looks to be cupid protecting them. Cupid’s presence symbolizes innocence and protection. These figures combined symbolize the first stage of a man’s life, infancy.
To the left we see a young, muscular man engaged in what looks like romantic relations. The flutes the young woman is holding are the instruments of seduction that are supposed to mirror the enchantments of sirens. These figures represent the second stage of a man’s life, youth.
In the background we see an elderly man examining a skull in his right hand while holding another in his left. His demeanor can be viewed as either his fear of death or him coming to terms with one’s inevitable ending.
The church in the far background, behind the elderly man, can be viewed as a symbol of divine presence in both the overall painting, but also in each stage of a man’s life. The church may also symbolize a life after death as it lies directly behind the elderly man and the scene depicting death.
Allegory of Prudence (1570)
The Allegory of Prudence is a triple portrait and another one of Titian’s paintings that depicts the lifecycle of man.
On the left we see an elderly man, in the center is an adult man, and to the right is a man in his youth. The coinciding animal portraits beneath each man also symbolize the cycle of man.
The dog depicted with the man in his youth represents just that, youth, but also cheerfulness and playfulness. The lion’s head corresponds with the adult man as it symbolizes the bravery, courage, and leadership every man must display in his adulthood . The wolf beneath the elderly can be viewed as a symbol of honor and respect. This may not be the painter’s intention but it is diverting to mention that in wolf packs the elder and injured are often located in the front during travels in order to set the pace for the others. A symbol of how wolves honor and respect the elder, sick, and injured.
Sacred and Profane Love (1514)
Sacred and Profane Love, also recognized as Amor Divino e Amor Profano (Divine and Profane Love), is another painting of Titian’s that possesses vast allegorical themes. The women in this painting are symbols of two Venuses, earthly and divine love.
The woman on the right illustrates divine love. This is evident through both her nudity and positioning. Her nudity is a symbol that divine love cannot be limited or confined by materialistic manifestations. The way Titian paints this woman leaning and positioned higher than the other woman makes her appear to be either descending from or ascending to the heavens.
The woman on the left symbolizes earthly and human love. Her attire mirrors that of which is deemed appropriate and the norm during the times, symbolizing attributes related to human love.
Cupid in the center of the two Venuses mixing the water symbolizes the need and importance of maintaining a healthy balance between human and divine love. Water being a feminine element and Cupid being the God of Love supports this interpretation.
Venus With a Mirror (1555)
Here Titian portrays the Roman Goddess of love, fertility, beauty, and sex seen admiring herself with the assistance of a couple of cherubs.
Bacchus and Ariadne (1532)
Influenced by mythological themes from Latin poet Catullus and Roman poet Ovid, this painting tells the story of princess Ariadne and Theseus.
The myth states that Ariadne assisted Theseus by offering him advice on how to kill the Minotaur and escape the Labyrinth at the palace of Knossos. Soon after defeating the Minotaur with Ariadne’s advice, they fell in love. Theseus one day however abandoned her on the Island of Naxos.
Theseus’s ship is seen in the distance of this painting. Bacchus, the god of wine, stumbles upon abandoned Ariadne and soon falls for her. In this painting he is seen with the group Catullus describes as being comprised of satyrs and children of Nyssa
Diana and Callisto (1559)
This painting depicts the instance where Diana(Artemis) discovers Callisto is pregnant. As a follower of Diana(Artemis), Callisto was sworn to chastity. Diana, our central figure, is seen at the top right of the center. Callisto, our second central figure can be seen to the left center, wearing a white cloth that covers most of her body, but exposes her pregnant stomach.
The Fall of Man (1550)
Titian’s, The Fall of Man, depicts a visual of Genesis 30, 9–19, where the serpent tempts Eve who then tempts Adam to eat from the forbidden tree. Here we see Adam attempting to stop Eve by pushing her away from the serpent’s offer. The fox near Eve symbolizes the evil and sensuality that is often associated with Eve in this scene.
The Worship of Venus (1518–1519)
“…a multitude of them, for they have the children of nymphs, govern all mortalkind and mortals love many things”
-Philostratus
This mythological painting, inspired by the Greek writer Philostratus, was part of a series commissioned by the Duke of Ferrara in 1516. This painting depicts the Roman worship and honor to the goddess of love, Venus.
The numerous cupids illustrated in this painting is a direct correlation to the writings of Philostratus, “…a multitude of them, for they have the children of nymphs, govern all mortalkind and mortals love many things”. The cherub seen playing with a rabbit and the female spirit holding the mirror are symbols for the goddess Aphrodite, the Greek counterpart of Venus.
