Edited with text by Lionello Puppi, Serena Baccaglini. Text by Giorgio Reolon, Barbara Putova, Silvia Miscellaneo, Antonio Genova.
Beginning with the analysis of two works by Titian (ca. 1488–1576) preserved in the Czech Republic—the so-called “Vanitas” belonging to the Prague Castle Collections, a portrait of a beautiful young woman usually interpreted as an allegory of vanity, and the gruesome “Flaying of Marsyas” housed in the Archbishop’s Palace in Kromeriz—Titian: Vanitas deals with the artistic and existential life of the Cadore-born painter and presents the two paintings in the context of Titian’s broader production. This volume, edited by Lionello Puppi and Serena Baccaglini and including texts from Giorgio Reolon, Barbara Putova, Silvia Miscellaneo and Antonio Genova, delves into the Renaissance artist’s process and self-presentation, from the preparation of models and the production of replicas to the success of the artist and the intention and manipulations of his self-portraits.
Featured image is reproduced from 'Titian: Vanitas.'
in stock $55.00
Free Shipping
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
FORMAT: Pbk, 9 x 11 in. / 192 pgs / 80 color. LIST PRICE: U.S. $55.00 LIST PRICE: CANADA $72.5 ISBN: 9788836633180 PUBLISHER: Silvana Editoriale AVAILABLE: 2/28/2017 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA LA ASIA AU/NZ AFR ME
Titian: Vanitas The Poet of the Image and the Shade of Beauty
Published by Silvana Editoriale. Edited with text by Lionello Puppi, Serena Baccaglini. Text by Giorgio Reolon, Barbara Putova, Silvia Miscellaneo, Antonio Genova.
Beginning with the analysis of two works by Titian (ca. 1488–1576) preserved in the Czech Republic—the so-called “Vanitas” belonging to the Prague Castle Collections, a portrait of a beautiful young woman usually interpreted as an allegory of vanity, and the gruesome “Flaying of Marsyas” housed in the Archbishop’s Palace in Kromeriz—Titian: Vanitas deals with the artistic and existential life of the Cadore-born painter and presents the two paintings in the context of Titian’s broader production. This volume, edited by Lionello Puppi and Serena Baccaglini and including texts from Giorgio Reolon, Barbara Putova, Silvia Miscellaneo and Antonio Genova, delves into the Renaissance artist’s process and self-presentation, from the preparation of models and the production of replicas to the success of the artist and the intention and manipulations of his self-portraits.
