Famous European Artists Part 11

"Nearer to the foreground, and at measured intervals, saplings throw their branches lightly on the sky, which, nearer still, is intercepted in the centre of the s.p.a.ce by a group of rich-leaved trees, rising fan-like behind the marble trough of an antique fountain. Enchanting lines of hill and plain, here in shadow, there in light, lead us to the foreground, where the women sit on a lawn watered by the stream that issues from the fountain, and rich in weeds that shoot forked leaves and spikes out of the gra.s.s.

"Artless (Sacred) Love, on one side, leans, half-sitting, on the ledge of the trough, a crystal dish at her side, symbolizing her thoughts. Her naked figure, slightly veiled by a length of muslin, is relieved upon a silken cloth hanging across the arm, and helping to display a form of faultless shape and complexion. The left hand holds aloft the vase and emblematic incense of love; the right, resting on the ledge, supports the frame as the maiden turns, with happy earnestness, to gaze at her companion. She neither knows nor cares to heed that Cupid is leaning over the hinder ledge of the fountain and plashing in the water.... Not without coquetry, or taste for sparkling color, the chestnut hair of the naked maiden is twisted in a rose-colored veil; the cloth at her loins is of that golden white which sets off so well the still more golden whiteness of her skin. The red silk falling from her arm, and partly waving in the air, is of that crimson tone which takes such wonderful carminated changes in the modulations of its surface, and brings out by its breaks the more uniform pearl of the flesh."

To this figure of Sacred Love, into which the young painter evidently put his heart, he gave the beautiful and half-pensive face of Violante.

Did he intend thus to immortalize her, while he immortalized himself?

Very likely.

"Sated (Profane) Love sits to the left, her back resolutely turned towards Cupid, her face determined, haughty, but serene; her charms veiled in splendid dress, her very hands concealed in gloves.... A plucked rose fades unheeded by the sated one's side, and a lute lies silent under her elbow.... She seems so grand in her lawns and silks; her bosom is fringed with such delicate cambric; her waist and skirt, so finely draped in satin of gray reflexes; the red girdle, with its jewelled clasp, the rich armlets, the bunch of roses in her gloved hand, all harmonize so perfectly."

For the next six or seven years, while Venice was engaged in wars with the French and the Turks, little is known of the young t.i.tian, save that he must have been growing in fame, as he painted the picture of the infamous Caesar Borgia, the son of Pope Alexander VI., Jacopo da Pesaro, Bishop of Paphos, who had charge of the Papal squadron against the Turks, and other paintings, now lost. The picture of Pesaro was owned by Charles I. of England. In 1825 William I., King of the Netherlands, presented it to the city of Antwerp, where it is highly prized.

In 1507 the State of Venice engaged Giorgione to fresco the new Fondaco de' Tedeschi, a large public structure for the use of foreign merchants, which had two halls, eighty rooms, and twenty-six warehouses. A portion of this work was transferred to t.i.tian. Above the portal in the southern face of the building, t.i.tian painted a "Judith," the figure of a woman seated on the edge of a stone plinth, in front of a stately edifice. In her right hand she waves a sword, while with her left foot she tramples on a lifeless head. Two other grand frescos were painted by him, all now despoiled by the northern or "Tramontana" winds.

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, t.i.tian 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.

t.i.tian 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 compet.i.tors. 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 t.i.tian 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, t.i.tian 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 t.i.tian 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 t.i.tian'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....

t.i.tian 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."

t.i.tian 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 t.i.tian 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.

"t.i.tian 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 Durer; their impression being that Venetian compositions invariably fell below the promise which they had given at their first commencement.

"To these observations t.i.tian 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 Durer. 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 compa.s.sed 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 t.i.tian 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.

"Christ turns towards the questioning Pharisee, and confirms with his eye the gesture of his hand, which points to the coin. His face is youthful, its features and short curly beard are finely framed in a profusion of flowing locks. The Pharisee to the right stands in profile before Jesus, holds the coin, and asks the question. The contrast is sublime between the majestic calm and elevation and what Inandt calls the 'G.o.dlike beauty' of Christ, and the low cunning and coa.r.s.e air of the Pharisee; between the delicate chiselling of the features, the soft grave eye and pure-cut mouth of the Saviour, and the sharp aquiline nose or the crafty glance of the crop-haired, malignant Hebrew....

"The form of Christ was never conceived by any of the Venetians of such ideal beauty as this. Nor has t.i.tian ever done better; and it is quite certain that no one, t.i.tian himself included, within the compa.s.s of the North Italian schools, reproduced the human shape with more nature and truth, and with greater delicacy of modelling. Amidst the profusion of locks that falls to Christ's shoulders, there are ringlets of which we may count the hairs, and some of these are so light that they seem to float in air, as if ready to wave at the spectator's breath. Nothing can exceed the brightness and sheen or the transparent delicacy of the colors. The drapery is admirable in shade and fold, and we distinguish with ease the loose texture of the bright red tunic, and that of the fine broadcloth which forms the blue mantle. The most perfect easel picture of which Venice ever witnessed the production, this is also the most polished work of t.i.tian."

In 1511 t.i.tian was called to Padua and Vicenza, where he executed some frescos, princ.i.p.ally from the life of St. Anthony, returning to Venice in 1512.

He was now famous, and Pope Leo X. naturally desired to draw him to Rome, where Raphael and Michael Angelo were the admired of all. Cardinal Bembo, the secretary of the pope, and the friend of Raphael, importuned t.i.tian; but the Venetian loved his own state and preferred to serve her, sending, May 31, 1513, the following pet.i.tion to the Council of Ten.

"I, t.i.tian of Cadore, having studied painting from childhood upwards, and desirous of fame rather than profit, wish to serve the Doge and Signori, rather than his highness the pope and other Signori, who in past days, and even now, have urgently asked to employ me. I am therefore anxious, if it should appear feasible, to paint in the Hall of Council, beginning, if it please their sublimity, with the canvas of the battle on the side towards the Piazza, which is so difficult that no one as yet has had the courage to attempt it."

For this work t.i.tian asked a moderate compensation, and the first vacant brokership for life, all of which the government granted. He moved into a studio in the old palace of the Duke of Milan, at San Samuele on the Grand Ca.n.a.l, where he remained for sixteen years.

It seemed now as though comfort were guaranteed to the hard-working artist. But unfortunately rivalries arose. The Bellinis had worked in this Hall of Council in the Ducal Palace, till they felt the position to be theirs by right. After long discussions, t.i.tian was successful, receiving from the Fondaco an annuity of one hundred ducats as a broker, and the privilege of exemption from certain taxes, while, on the other hand, he had to paint the Doge's portrait.

t.i.tian was now painting the following works for Alfonso d'Este, Duke of Ferrara, who had married the handsome and celebrated Lucretia Borgia:--

The "Venus Worship," now in the Museum of Madrid, represents the G.o.ddess standing on a marble pedestal, with two nymphs at her feet, while winged cupids pluck the apples sacred to Venus, from the branches of great trees, "climbing boughs like boys, dropping down from them like thrushes, loading baskets, throwing and catching, tumbling, fighting, and dancing."

This picture was a favorite study for artists, and it is said that Domenichino wept when he heard that it had been carried to Spain.

"The Three Ages," now in the collection of Lord Ellesmere, has been frequently copied. A cupid steps on two sleeping children: a beautiful girl sits near her lover, "the holy feeling of youthful innocence and affection charmingly expressed in both:" an old man contemplates two skulls on the ground. "To the children, as to the lovers, the forms appropriate to their age are given; and the whole subject is treated with such harmony of means as to create in its way the impression of absolute perfection."

The "Virgin's Rest, near Bethlehem," now in the National Gallery, shows the mother with the infant Christ on her lap, taking a bunch of flowers from St. John. The "Noli Me Tangere," also in the National Gallery, represents Christ with Mary Magdalene on her knees before him. "One cannot look without transport on the mysterious calm of this beautiful scene, which t.i.tian has painted with such loving care, yet with such clever freedom. The picture is like a leaf out of t.i.tian's journal, which tells us how he left his house on the ca.n.a.ls, and wandered into the country beyond the lagoons, and lingered in the fresh sweet landscape at eventide, and took nature captive on a calm day at summer's end."

While painting these pictures, besides various portraits of the poet Ariosto, Alfonso, and others, t.i.tian was producing what is generally regarded as his masterpiece, "The a.s.sumption of the Virgin," a colossal picture, now in the Academy of Arts at Venice. It was painted for Santa Maria di Frari, and was shown to the public, March 20, 1518, on St.

Bernardino's Day, when all the public offices were closed by order of the Senate, and a great crowd thronged the church.

"The gorgeous blue and red of Mary's tunic and mantle stand out brilliant on the silvery ether, vaulted into a dome, supported by countless cherubs. The ministry of the angels about her is varied and eager. One raises the corner of the mantle, some play the tabor, others hold the pipes, or sing in choir, whilst others again are sunk in wonderment, or point at the Virgin's majesty; and the rest fade into the sky behind, as the sound of bells fades sweetly upon the ear of the pa.s.sing traveller.... All but the head and arms of the Eternal is lost in the halo of brightness towards which the Virgin is ascending. He looks down with serene welcome in his face, an angel on one side ready with a crown of leaves; an archangel swathed in drapery, on the other, eagerly asking leave to deposit on the Virgin's brow the golden cincture in his hands."

t.i.tian was at once declared to be the foremost painter in Venice, and was, indeed, the idol of the people.

He now painted the "Annunciation" for the Cathedral of Treviso, and executed several frescos. Meantime, the Venetian Government threatened that unless he went forward with the work in the Ducal Palace it should be finished by others at his expense. Pressed on every hand for pictures, he still neglected the Palace, and painted the brilliant "Baccha.n.a.l," now at Madrid, for Duke Alfonso.

Ariadne reposes on the ground, insensible from wine, while a company of Menads sport about her as Theseus sails away in the distance. The most beautiful Menad, with white muslin tunic and ruby-red bodice and skirt, has the exquisite face and form of Violante, with a violet or pansy on her breast. The painter was now over forty, and still seemed to bear Violante on his heart.

Ariadne, daughter of Minos, King of Crete, according to the legend, fell in love with Theseus, when he came to Crete to kill the Minotaur, and gave him a thread by means of which he found his way out of the labyrinth. In grat.i.tude he offered her his hand. She fled with him, and he deserted her on the Island of Naxos, where Bacchus found her and married her. On the "Baccha.n.a.l" a couplet shows its motive,--

"Who drinks not over and over again, Knows not what drinking is."

Alfonso d'Este was delighted with this gay picture. Although Lucretia Borgia, whom he never loved, had been dead but a few months, he had married a girl in humble station, Laura Dianti, whom he loved tenderly, and who kept his fickle heart true till his death. She must have been a person of gentle and lovely nature, for the duke became kinder to everybody, and more devoted to art, literature, and the refining influences of life.

It is believed that the famous picture in the Louvre called "t.i.tian and his Mistress" represents Laura and Alfonso. "The girl stands behind a table or slab of stone, dressing her hair, whilst a man in the gloom behind her holds, with his left hand, a round mirror, the reflection of which he catches with a square mirror in his right. Into the second of these the girl gently bends her head to look, eagerly watched by her lover, as she twists a long skein of wavy golden hair. Over the white and finely plaited linen that loosely covers her bosom, a short green bodice is carelessly thrown, and a skirt of the same stuff is gathered to the waist by a sash of similar color. The left side of the girl's head is already dressed; she is finishing the right side, and a delightful archness and simplicity beam in the eyes as they turn to catch the semblance in the mirror. The coal-black eye and brow contrast with the ruddy hair; the chiselled nose projects in delicate line from a face of rounded, yet pure contour; and the lips, of a cherry redness, which t.i.tian alone makes natural, are cut with surprising fineness. The light is concentrated with unusual force upon the face and bust of the girl, whilst the form and features of the man are lost in darkness. We pa.s.s with surprising rapidity from the most delicate silvery gradations of sunlit flesh and drapery, to the mysterious depths of an almost unfathomable gloom, and we stand before a modelled balance of light and shade that recalls Da Vinci, entranced by a chord of tonic harmony, as sweet and as thrilling as was ever struck by any artist of the Venetian school."

Tired with his constant labor, t.i.tian journeyed to Conegliano, at the foot of the Venetian Alps, and painted, at his leisure, a series of frescos on the front of the Scuola di Santa Maria Nuova, in return for which he received the gift of a house, where he rested ever after, when on his way to Cadore.

In 1522 the great altar-piece of the "Resurrection" was finished for Brescia, and placed on the high altar of St. Nazaro e Celso, where it long remained an object of study by artists. t.i.tian thought the martyrdom of St. Sebastian, in this picture, the best thing he had ever done.

Seven years had now pa.s.sed since he had received the commission to paint the Hall of the Great Council. His property was to be taken from him, and, alarmed at the prospect, he worked vigorously for several weeks on the "Battle of Cadore" or the other great painting, "The Humiliation of the Emperor Barbarossa by Pope Alexander III."

Duke Alfonso was urging the overworked master for a new picture, the "Bacchus and Ariadne," now in the National Gallery of England: a picture five feet nine inches by six feet three inches. The scene is taken from the cla.s.sic poem of Catullus, when Ariadne, near the sh.o.r.e of Naxos, flees from the presence of Bacchus, whose chariot is drawn by leopards.

He was the son of Jupiter by Semele, whose death being caused by Juno, the G.o.d of the vintage was reared by nymphs in Thrace. He taught men the cultivation of the vine and the art of wine-making.

Concerning this picture, Crowe and Cavalcaselle say, "Centuries have robbed the canvas of its freshness, and restorers have done their best to remove its brightest surfaces; yet no one who looks at it even now can fail to acknowledge the magic of its enchantment. Rich harmony of drapery tints and soft modelling, depth of shade and warm flesh, all combine to produce a highly colored glow; yet in the midst of this glow the form of Ariadne seems incomparably fair. Nature was never reproduced more kindly or with greater exuberance than it is in every part of this picture. What subtlety there is in the concentration of light on Ariadne, which alone gives a focus to the composition. What splendor in the contrasts of color, what wealth and diversity of scale in air and vegetation; how infinite is the s.p.a.ce, how varied yet mellow the gradations of light and shade.

"There is not a single composition by t.i.tian up to this time in which the scene and the _dramatis personae_ are more completely in unison; and, looking at these groves and cliffs and seas, or prying into the rich vegetation of the foreground, we are startled beyond measure to think that they were worked out piecemeal, that the figures were put in first and the landscape last. Nor is it without curiosity that we inquire where t.i.tian got that landscape, where he studied that foreground; and we are forced to conclude that he forsook the workshop on the Grand Ca.n.a.l, where there certainly was no vegetation, even in the sixteenth century, and went to Ferrara, and there reproduced with 'botanical fidelity' the iris, the wild rose and columbine, which so exquisitely adorn the very edge of the ground on which the Satyrs tread." This picture has been copied by Rubens, Poussin, and other noted artists.

About this time the "Flora" of the Uffizi was painted, a beautiful woman with the Violante face. "She is not yet dressed, but her hair is looped up with a silken cord so as to shape the most charming puffs above the ears, falling in short and plaited waves to the bosom, leaving bare the whole of the face, the neck, and throat. No one here holds the mirrors, yet the head is bent and the eyes are turned as if some one stood by to catch the glance, and stretch a hand for the flowers; for whilst with her left Flora strives by an intricate and momentary play of the fingers, to keep fast the muslin that falls from her shoulder and the damask that slips from her form, with the other she presents a handful of roses, jessamines, and violets to an unseen lover. The white dress, though muslin-fine and gathered into minute folds, is beyond measure graceful in fall, and contrasts in texture as well as harmonizes in color with the stiffer and more cornered stuff of the rose-tinged cloth which shows such fine damask reflexes on the left arm."

At this time, also, t.i.tian painted one of his most exquisite creations, the "Sleeping Venus," now at Darmstadt, a graceful nude figure asleep on a red couch strewn with roses, her arm under her head. The face is delicate, innocent, pensive, and refined--still the face of Violante,--one of the most beautiful, it seems to me, which an artist has ever put upon canvas. There are several replicas in England and elsewhere. The figure is not more perfect, perhaps, than the Venus of the Uffizi, painted later for the Duke of Urbino, or the Venus of Madrid; but the face is one which I have always felt an especial pleasure in possessing.

Taine says of t.i.tian, "He was endowed with that unique gift of producing Venuses who are real women, and colossi who are real men, a talent for imitating objects closely enough to win us with the illusion and of so profoundly transforming objects as to enkindle reverie. He has at once shown in the same nude beauty a courtesan, a patrician's mistress, a listless and voluptuous fisherman's daughter, and a powerful ideal figure, the masculine force of a sea-G.o.ddess, and the undulating forms of a queen of the empyrean....