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Titian: And the End of the Venetian Renaissance Paperback – January 15, 2017

by Tom Nichols (Author)
4.4 4.4 out of 5 stars 14 ratings
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Titian is best known for paintings that embodied the tradition of the Venetian Renaissance—but how Venetian was the artist himself? In this study, Tom Nichols probes the tensions between the individualism of Titian’s work and the conservative mores of the city, showing how his art undermined the traditional self-suppressing approach to painting in Venice and reflected his engagement with the individualistic cultures emerging in the courts of early modern Europe.
            Ranging widely across Titian’s long career and varied works, Titian and the End of the Venetian Renaissance outlines his radical innovations to the traditional Venetian altarpiece; his transformation of portraits into artistic creations; and his meteoric breakout from the confines of artistic culture in Venice. Nichols explores how Titian challenged the city’s communal values with his competitive professional identity, contending that his intensely personalized way of painting resulted in a departure that effectively brought an end to the Renaissance tradition of painting. Packed with 170 illustrations, this groundbreaking book will change the way people look at Titian and Venetian art history.
 
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  1. Print length
    336 pages
  2. Language
    English
  3. Publisher
    Reaktion Books
  4. Publication date
    January 15, 2017
  5. Dimensions
    8.25 x 0.7 x 11 inches
  6. ISBN-10
    1780236743
  7. ISBN-13
    978-1780236742
  8. See all details
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Editorial Reviews

Review

“Nichols’s book offers the kind of free-flowing and deeply intelligent analysis of a painter’s career that can only be produced after long study and intimate familiarity with his subject. It is beautifully written and generously illustrated, and you feel both Nichols’s and Titian’s minds working at every turn.”
― Renaissance and Reformation Review

“Provocative. . . . nicely illustrated and well-produced. . . . It offers a challenging alternative view of one of the most important artists of the Italian Renaissance. Recommended.”
― Choice

About the Author

Tom Nichols is a reader in art history at the University of Glasgow.

Product details

  • Publisher ‏ : ‎ Reaktion Books; Reprint edition (January 15, 2017)
  • Language ‏ : ‎ English
  • Paperback ‏ : ‎ 336 pages
  • ISBN-10 ‏ : ‎ 1780236743
  • ISBN-13 ‏ : ‎ 978-1780236742
  • Item Weight ‏ : ‎ 2.1 pounds
  • Dimensions ‏ : ‎ 8.25 x 0.7 x 11 inches
  • Customer Reviews:
    4.4 4.4 out of 5 stars 14 ratings

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Tom Nichols

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Customer reviews

4.4 out of 5 stars
4.4 out of 5
14 global ratings

Top reviews from the United States

James Clark
4.0 out of 5 stars but I did enjoy this book
Reviewed in the United States on August 30, 2014
Verified Purchase
I am a novice student of Renaissance art , but I did enjoy this book.
I did feel the author was somewhat verbose and some of his contentions hard to grasp,
but overall I thought the book was worth the money.The text was hardgoing but I got a feel for Titian
and his amazing talent.
4 people found this helpful
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Luis C. Mantica
1.0 out of 5 stars Terrible
Reviewed in the United States on May 27, 2021
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Terrible reproductions, TERRIBLE
5 people found this helpful
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Shaxberd
5.0 out of 5 stars A Handsomely Illustrated New Perspective on a Great Artist
Reviewed in the United Kingdom on August 22, 2016
Verified Purchase
Few artists had such a long and astonishing development in the course of a career as Titian, a fact which Tom Nichols, in this excellent reappraisal of the artist, recognizes by starting at the end with an analysis of Titian’s magnificent and mysterious last painting, the Pieta intended for his own tomb – though never installed there: a failure that Dr. Nichols sees as characteristic of an essential dichotomy in Titian’s whole career.

Thanks to Amazon’s ‘Look inside’ facility you can read his opening pages for yourself, and I recommend that you do so, as it is the quickest way to recognize the originality of his thought, the breadth of his historical grasp, the eloquence of his description, and the acuity of that most indefinable yet essential asset of an art critic, his ‘eye’. He is particularly good at suggesting the way great paintings can imply two or more things at once – in this case the simultaneous evocation of corporeality and spirituality that, as so often in Titian, makes ‘the immediate bodily experience of his actors rebel against the … closures of the narratives they enact’.

This searching analysis of the visual impact of Titian’s paintings is paralleled by his understanding of the historical context, as instanced here in the rejection of the painting by the Franciscans of the Frari and its appropriation by Palma Giovane in a fruitless attempt to establish himself as Titian’s ‘heir’, which he sees as paradigmatic of the connections and disjunctions in Titian’s whole career and his often fraught relationship with his patrons, his contemporaries and his adopted city. In particular he challenges the conventional assumptions about Titian’s ‘Venetianness’, and the easy contrast, inherited from Vasari, between ‘disegno’ and ‘colorito’, with Titian the representative of a ‘sensual’, and therefore supposedly unintellectual art, the provider of erotic nudes, carefree mythologies and worldly, flattering portraits. Instead, he proposes a much more disturbed and disturbing picture of a painter/poet whose nudes are on the ‘knife-edge between eroticism and violation’, who treated mythology with exactly the same tragic seriousness as sacred Christian subjects, and whose portraits are as often intended to evoke power and authority as provide a comforting or flattering likeness.

Titian’s range as a painter – of classical mythologies, religious works, nudes, landscape and portraits – is almost as remarkable as the extent of his development, and Nichols does it full justice. He is excellent on Titian’s invention of a new spirit of paganism in the three extraordinary mythologies painted for Alfonso d’Este, that revel in ‘the primacy of the present moment’ with their emphasis on physical indulgence as ‘a viable alternative to the… deferral of pleasure…of Christian morality,’ and yet remain disturbingly aware of the ‘outlandish aspects’ of such pleasures, ‘urination, inflated bellies, stupor and dismembered body parts’, and of the ‘autumnal tones’ that suggest their mutability. And he is equally good on the late ‘poesie’, in which ‘such disturbing elements… familiar enough in Christian art’ (he instances the Death of St Peter Martyr and the Martyrdom of St Lawrence) replace the ‘stable or timeless quality’ that is more common in Renaissance mythologies, culminating in the ‘visceral violence and fleshly disintegration’ of the Death of Actaeon and the Flaying of Marsyas.

He steers us too through the succession of great religious works, from the Frari Assumption to the lost Death of St Peter Martyr, in which Titian revolutionized the tradition of the altarpiece and, Nichols suggests, also stretched the tolerance of his patrons. His treatment, especially the way he makes us appreciate these altarpieces in the physical contexts for which they were designed, helps us see these over-familiar paintings in a new light. And his treatment of the portraits is equally unusual in concentrating as much on the portrayal of power and authority as on the perhaps more popular dreamy young men and beautiful women.

Along the way Nichols is particularly acute about the functions – often erotic – of drapery, and the links, emotional and thematic, between figure and landscape in such paintings as the ‘Three Ages of Man’ and the ‘Noli Me Tangere’. I particularly liked his analysis of Titian’s dialogue with the art of his predecessors and contemporaries, and his appropriation of not just such obvious influences as Bellini and Giorgione, but also of Giotto and Michelangelo; but he is equally good on Titian’s influence on other artists, which of course was immense, but was not as simple or straightforward as is sometimes thought, as Nichols makes clear in an illuminating account of the ambivalence of the response of Tintoretto, Veronese and Bassano to his example.

The book is handsomely illustrated - it is especially useful that when the discussion returns to paintings discussed earlier, they are illustrated again, avoiding unnecessary flicking back and forth through the pages - and it is in every respect a worthy successor to Nichols’ previous and much-praised book on Tintoretto. If you thought there was nothing new to say about so familiar an artist, this book will change your mind.
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DOCTOR DJ QUILL SMART
5.0 out of 5 stars Five Stars
Reviewed in the United Kingdom on April 3, 2016
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EXCELLENT BOOK WITH EXCELLENT SERVICE, THANKS
One person found this helpful
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Sticky Mud
5.0 out of 5 stars Five Stars
Reviewed in the United Kingdom on December 20, 2015
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excellent book
One person found this helpful
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dr michael a l evans
4.0 out of 5 stars good
Reviewed in the United Kingdom on May 29, 2017
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good
One person found this helpful
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