Summary: Paraphrase and Analysis
Titian emphasized on the use of color and light in his paintings. Other early scholars did not only focus on his use of color but also aimed at his mode of coloring (colorito). Titians use of brushstrokes is deemed to be unfinished, according to the modern scholars. To prove that his work was not unfinished, as many claimed, Rosand pointed that the works were displayed to the public, long before his death. However, it is apparent that Titians brushstrokes were not underpaintings but a significant way of displaying the final layers. In this, Titians painting is reflected by the manner in which he handled paint to shape and prove his stylistic phenomenon.
Get a free price quote
Many scholars do not understand Titians handling of the paint. They think that his paintings were unfinished due to the use of the loose brushstrokes, which he used to provide a relevant interpretation of his subject. In his mode of painting, Titian used the represented things, especially the body, to consider the materiality of his subjects. Throughout his paintings, Titian displays the materiality of the skin and flesh, as well as the sensitivity of the body. The concern for the material body is achieved by the oil plant, the brushstrokes, and the nature of the canvas. In other words, his notions for corporeality are well understood through his representations of the bodies.
The relation between the materiality of the paint and the corporeality of the figures is reflected by the different paintings. The subject between the Shower of Gold and the Annunciation is indeed similar even though they have diverse genres and function. As a result, Titian uses paint to differentiate spirit and matter. He focuses on the materiality of the oil pigments and the translucency of the oil to manifest the physicality of the bodies and the divine light. Several figures relating to the corporeality of the paintings have been preserved to display the innovative painterly means.
Titian had absolute boldness, which he employed in referring to the nude bodies. He transformed the Michelangelos invention to the figure of a relaxed female body. In his paintings, the main figure is Danae, who consciously communicates with the gods. Titians Danae looks knowingly and attentively seems to enjoy the cloud of gold. The body of the Danae has been enhanced through the correspondence between the outline of the cloud and the body. Titian also applies paint through the use of a sensuous manner. He explores diverse ways of handling the diverse paint techniques (impasto).
Titian also changed his painting technique by employing a dryer and thicker paint, as well as the coarser canvas while creating the Danae. The light in the figure comes from the threads and color of the canvas, making the colors more vibrant. He uses a coarser canvas while comparing his Danae with the image of John the Baptist. The coarse canvas also enables him to differentiate between the contrasting shadow and light. He prefers the openness of the body and soft gradations while representing the relaxed female nude. His brushwork develops meaning in this point whereby he uses contours to emphasize the physicality of the body. The light between the threads wraps the threads of the canvas, forming more vibrations. The availability of the gold is made from the palpable golden dust which protrudes from the darker ground. The notion of the god of lightning forms the rain of metal coins and the soft cloud as reflected in the plate 5.
Titian connected his figures with others which had existed long before his paintings. In his version of the King of Spain, he changed the relation between Jove and Danae. He used the shimmering quality of paint and the cloud to create contours and light. The velvet is used to allow light through the crimson hollow. The painting is related to the body by linking the erotic genre and the appearance of the material. Titian used the non-finito effect and the open brushwork to catch the attention of the earliest historians. For those who thought that his works were unfinished, Titian used the word fecit to emphasize his completion.
The author presents arguments which support the intent of his paintings. He links his statements with some of the images that or figures that were used before his time. He also uses legendary words which have a basis from the earliest painters. In this, the authors evidence is visual and literary. For one, it is visual because he transforms images into his present Danae. He relates the images with other figures and derives meaning from the two. For instance, Titian used the image of the Shower of Gold and the Annunciation to represent the new outlook of his Danae. He also used a blend of colors to counterfeit the relation between color and light. The availability of the brushstrokes enabled him to make use of the available oil paint and the canvas.
There are equal amounts of evidence, which are reflected by the manner in which Titian handled paint to create his Danae with reference from the existing images. Whichever object, Titian used a coarse or coarser canvas to prove his stylistic phenomenon. For instance, he used a shimmering quality of paint to create contours in objects. He was lenient on the capacity of color and the oil paint to displaying the opaque and transparent layers of paint. These features enabled him to visualize the dark colors from the bright ones. The understanding of light is brought by the aspect of brushwork as reflected by the figure of the angel and the robe that deep folds.
The author makes use of the literary kinds of evidence by relying on them during his paintings. It is apparent that he uses painting techniques such as colorito, impasto, and non-finito, among others to prove his stylistic phenomenon. These methods were used by the Venetian Renaissance to describe the priorities that were required in the mastery of the color tones and pigments during painting. The author uses such techniques while handling paint to present a similar and quality figure.
The various types of evidence are related because they worked hand in hand. As noted, the author used images and figures along with the mentioned stylistic words which also demonstrated his theme of painting. In addition, the visuals relate with one another because they all base their arguments from Danae. In other words, each of the figures is related to the authors Danae. Titian also used similar materials such as oil and canvas for the figures. Therefore, they received similar evidence which was derived from the diverse sensuous descriptions.
In conclusion, I find the argument by the author to be convincing because he presents solid statements which link with his Danae. It is clear that he built his figures which related to the previously known images. For instance, Titian linked his Danae with the image of John the Baptist. He also used oil and coarse canvas to illustrate his robe. The use of brushstrokes was evident throughout his painting. The link between the images and the figure which he created was bound by the literary words such as colorito and impasto, which brought clear meaning to the artwork.