The Height Of The Renaissance Fostered A War Zone Within Venice

1385 Words Dec 10th, 2016 6 Pages
The height of the Renaissance fostered a war zone within Venice. Aspiring artists hoped to cement their legacy as the likes of Giovanni Bellini or Raphael, but few managed to achieve what Titian did. Critics rave over Titian’s vibrant use of color and his masterful brushstroke. Many studied under Titian, but where was their success? Why was there seemingly such a remarkable barrier of skill between Titian and those below him? Three works of art on display at The MET’s Gallery 607 allow for a great analysis of what really went on in 16th century Venice. Paris Bordone and Lorenzo Lotto both have a history with Titian, yet both could only accomplish just a modicum of the success that he did. Titian’s, Venus and the Lute Player, Lotto’s, Brother Gregorio, and Bordone’s, Portrait of a Man in Armor with Two Pages are prime examples of their respective artist’s distinct qualities. Turning to their respective catalogue entries at The MET reveals each respective artist’s distinct traits. Divulging deeper, art historian Bernard Berenson’s book entitled, Lorenzo Lotto, and a book published by Professor Tom Nichols titled, Titian: And the End of the Venetian Renaissance, show that Titian was not only a master painter, but he had mastered the art of politics.

Titian had done many things that w gone unseen prior to his existence. Venus and the Lute Player is in fact part of a series of six that he does. In each painting, Cupid is interacting differently, the landscape is changed, the…

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