The renaissance art world and its classical origin

Titan was born in one of the remote areas of Pieve di Gadore, however, he grow to work in Venice. He picked up quickly and become one of the dominant painters, if not the dominant painter of Europe. His oil paintings were the most sort after especially by the courtly and aristocratic patrons. His paintings were considered to be more naturalistic by the art theorists and hence of low perfection in design than the works from Rome and Florence. Towards the end of the eighteenth century, his works began to be appreciated up to the current time where the current scholars have intensified this contextual works. The most famous works by this artist was the Venus of Urbino and it is also the most disputed of his artworks.

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The intertwined possession themes of a beautiful woman and her image creation permeated the conception of female art by the renaissance. As the old thoughts always asserted that anyone who depicts a beautiful woman will always deserve her, the people of the renaissance may like to transfer these assertions to the art maker. This being the people’s notion, there are many questions which are raised from this. Taking this into account we take this to the paragon extent between Titans and Michelangelo. In renaissance times, the beauty of any female was the lodestone of aesthetics, inspire of the male being taken to be the norm and the female an aberration. The Titan’s woman picture can not only be used to portray his artistic gift but also can be seen as his booster to his rivals of all times. In his competition with his most contemporary rival, Michelangelo, titans uses this artwork to assert of his superiority and his primacy of sculpture paintings of colorito over design and feminine over masculine.

The two, Michelangelo and Titan, came to confrontations of the diseno i.e the design and colorito for themselves. Michelangelo tried to make his name by the heroic men like that of David while Titan made reference to the female subject along with their style. Michelangelo shown the inability of the Venetian to draw and equated their disadvantages to their focus on femininity. In his evaluation of the Michelangelo artworks, Aretino allusion that he is more than a angel Devine, shows his promotion of Michelangelo angelic status which were conferred by Aristotle.


Preimesberger, Rudolf (2011). Paragons and Paragone: Van Eyck, Raphael, Michelangelo, Caravaggio, Bernini. Getty Publications

John T. Paoletti; Gary M. Radke (2005). Art in Renaissance Italy (3 ed.). Laurence King Publishing.

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