Tokyo Metropolitan Museum of Art Hosts Major Titian Exhibition

Excerpt from the Tokyo Museum of Art Titian Exhibition January 21 (Sat) – April 2 (Sun), 2017:

In the 15th and 16th centuries, Venice, City of Water, prospered dramatically through maritime trade and rose to power as a major world trade center with ties to other cultures. At this time, it entered a golden age of art. Paintings of diverse subjects were produced for spaces public and private, from churches and government buildings to the palaces of aristocrats, and a distinctive Venetian style of painting characterized by brilliant colors, free and vibrant brushwork, and the effects of softly diffused light was born. This exhibition will examine the characteristics and compelling allure of Venetian Renaissance art through paintings by Titian, the great master of the Venetian school, and other artists who built the golden age.


Rewritten excerpt:

Many historians refer to the period between the mid 15th and 16th centuries as the Golden Age of Art in Renaissance Venice, a term that highlights a period in which a flurry of economic activity and artistic development allowed for commissions of both private and public buildings and ecclesiastical and secular art work.

Easily accessed by water, Venice quickly became the epicentre of trade and commerce in Italy and the world. A microcosm of art and culture was influenced by the various cultures that drifted through the city bringing a distinct dispersal of new ideas and materials for artists to experiment with.

This exhibition will survey ecclesiastical and secular art works. Each piece was created for a very specific purpose. Some of Titian’s representations of female nudes were likely commissioned to commemorate and honour a marriage and were intended for private viewership in one’s home or more specifically the bedroom in which ideas of fertility and sexuality dominated the thoughts of a newly married couple intent on starting a family. Religious pieces were positioned as a form of advertisement for wealthy donors who commissioned devotional paintings, sometimes making an appearance in the painting themselves, and who wanted to get into the good graces of the Pope by exemplifying their devotion.





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