Overview
Titian’s goddess of love and beauty conjures the sense of touch. Observing her flushed cheek, one can almost feel its warmth. The textures of flesh, jewels, fabric, and fur are exquisitely detailed. In the mirror a cupid holds up to her, she appears not to view herself, but perhaps someone gazing at her.
This is considered the finest surviving version of a composition executed in at least 30 variants by Titian and his workshop. It remained in the artist’s possession until his death, more than 20 years after he painted it. The reason Titian retained a painting of such high quality for so long is uncertain, but this Venus may have been a source of inspiration to those who worked for or visited the artist. For members of the workshop, she may have served as a model for replication, and the painting may have prompted visitors to order similar pictures for themselves.
When he painted this work, Titian reused a canvas that once depicted two figures in three-quarter-length view standing side by side. He rotated the canvas 90 degrees, and it appears that he left exposed the jacket of the male figure in the underlying composition to create the luxurious fur-lined red velvet that now wraps around Venus’s hip.
Entry
Usually and reasonably dated to circa 1555, the picture is widely accepted as the finest surviving version of a composition known in at least 30 variants executed by
An older x-radiograph of 1971, which was studied in detail by Fern Rusk Shapley,
The picture is first certainly recorded in the will of the Venetian nobleman Cristoforo Barbarigo in 1600 (see
In any case, there is widespread scholarly agreement that the Venus is not a very late work and that for stylistic reasons it is datable to the mid-1550s. As first pointed out by Stephan Poglayen-Neuwall,
All this applies to the principal figure and her draperies, but it is less true of the more sketchily painted cupids and striped cloth at the lower right. Jodi Cranston has argued that the broad handling at the right was intentional, and was part of the painter’s expressive purpose, but did not note any difference between the left and the right sides.
The complex task of surveying and listing the many known versions of the Venus composition was undertaken in 1934 by Poglayen-Neuwall.
The other version of the composition identified by Poglayen-Neuwall as probably autograph is the one recorded in a memorandum sent by Titian to Philip II on December 22, 1574, in which it is described as “Venus con amor gli tien il specchio” (a Venus with a cupid holding a mirror).
It has been traditionally assumed that the version for Philip II is identical with a “Venere ignuda” sent by Titian to Spain in 1567.
The inclusion in the Spanish royal inventory of 1552/1553 of what was almost certainly the earliest version does not in itself negate Hope’s assumption that the composition was invented for Philip (at that time still crown prince). Yet there is no mention of such a work in any of the ample correspondence between the painter and the prince, whereas Titian is known to have painted a Venus for his father, the emperor Charles V, in 1544–1545, and to have brought it with him to the imperial diet at Augsburg in 1548. It has usually been supposed that this lost Venus was of the full-length, recumbent type and was the prototype for Titian’s various variations on this theme from the early 1550s onward. Yet there is no sound evidence for this supposition, and it is altogether more likely that this picture was identical with the Venus with a Mirror recorded in the possession of Philip by 1552/1553, and later copied by Rubens.
In a letter of October 5, 1545, the imperial ambassador to Venice, Don Diego de Mendoza, wrote to the emperor saying that the artist had just painted for him a quadro di fantasia, “which people say is the best thing he has ever done.”
For Rona Goffen, the subject of the earlier Louvre picture concerns the erotic balance of power in the male-female relationship; and although the lover is no longer physically present in the Venus, his “intimate surrogate” remains there in the form of the red velvet wrap, which the author identified as the coat of a man.
Developing this idea, Irina Artemieva has interpreted the picture as a self-conscious manifesto by Titian of his own art, painted in the wake of the aesthetic debates of the 1540s and 1550s concerning the paragone not just between sculpture and painting, but also between disegno and colorito, and between the rival artistic traditions of Rome and Venice.
Many scholars have commented on the fascination that the Venus with a Mirror, together with its many variants, has held for subsequent painters, from Titian’s compatriot
Peter Humfrey
March 21, 2019
Provenance
The artist [c. 1490-1576], Venice; by inheritance to his son, Pomponio Vecellio, Venice; sold 27 October 1581 with the contents of Titian's house to Cristoforo Barbarigo [1544-1614], Venice; by inheritance to his son, Andrea Barbarigo;[1] by inheritance in the Barbarigo family, Palazzo Barbarigo della Terrazza, Venice;[2] sold 1850 by the heirs of Giovanni di Alvise Barbarigo [d. 1843] to Czar Nicholas I of Russia [1796-1855], Saint Petersburg;[3] Imperial Hermitage Gallery, St. Petersburg;[4] purchased April 1931 through (Matthiesen Gallery, Berlin; P. & D. Colnaghi & Co., London; and M. Knoedler & Co., New York) by Andrew W. Mellon, Pittsburgh and Washington, D.C.; deeded 5 June 1931 to The A.W. Mellon Educational and Charitable Trust, Pittsburgh;[5] gift 1937 to NGA.
Exhibition History
- 1979
- The Golden Century of Venetian Painting, Los Angeles County Museum of Art, 1979-1980, no. 21, repro.
- 1990
- Tiziano [NGA title: Titian: Prince of Painters], Palazzo Ducale, Venice; National Gallery of Art, Washington, 1990-1991, no. 51, repro.
- 1993
- Le siècle de Titien: L'âge d'or de la peinture à Venise, Galeries du Grand Palais, Paris, 1993, no. 178, repro., as Vénus à sa toilette.
- 2002
- Nicholas I and the New Hermitage, The State Hermitage Museum, St. Petersburg, Russia, 2002, unnumbered catalogue.
- 2002
- Tiziano / Rubens. Venus ante el espejo, Fundación Colección Thyssen-Bornemisza, Madrid, 2002-2003, no. 2, repro.
- 2007
- Der späte Tizian und die Sinnlichkeit der Malerei / Tiziano maturo e la sensualità della pittura, Kunsthistorisches Museum, Vienna; Gallerie dell'Accademia, Venice, 2007-2008, no. 2.5, repro. (shown only in Vienna).
- 2009
- Titian, Tintoretto, Veronese: Rivals in Renaissance Venice, Museum of Fine Arts, Boston; Musée du Louvre, Paris, 2009-2010, no. 30 (no. 29 in French catalogue), repro.
Technical Summary
The support is a coarse, medium–heavy-weight twill-weave fabric with original selvages comprising the left and right edges. It has been lined to two additional fabrics, and the tacking margins were removed from the top and bottom edges.
X-radiographs
It appears the support was prepared with a thin ground, though it is difficult to characterize, due to the underlying portrait. Titian used a combination of thick, pastose paint and transparent glazes. The red and blue draperies were created by applying colored glazes over a white underpainting.
The x-radiographs, complemented by infrared reflectograms at 1.5 to 1.8 microns
Peter Humfrey and Joanna Dunn based on the examination reports by Sarah Fisher, Catherine Metzger, Elizabeth Walmsley, and Joanna Dunn
March 21, 2019
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- Freedman, Luba. The Revival of the Olympian Gods in Renaissance Art. Cambridge, 2003: 155, 190, 208.
- 2004
- Adams, Laurie Schneider. “Iconographic Aspects of the Gaze in some Paintings by Titian.” In The Cambridge Companion to Titian. Edited by Patricia Meilman. Cambridge, 2004: 232-233.
- 2004
- Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 100-101, no. 77, color repro.
- 2004
- Puppi, Lionello. Su Tiziano. Milan, 2004: 77.
- 2006
- Tagliaferro, Giorgio. “La bottega di Tiziano: Un percorso critico.” Studi Tizianeschi 4 (2006): 45.
- 2007
- Artemieva, Irina. “Die Venus vor dem Spiegel Barbarigo und der Dialogo della Pittura von Lodovico Dolce.” In Der späte Tizian und die Sinnlichkeit der Malerei. Edited by Sylvia Ferino-Pagden. Exh. cat. Kunsthistorisches Museum, Vienna; Gallerie dell'Accademia, Venice. Vienna, 2007: 224–231, 246-248.
- 2007
- Cranston, Jodi. “Theorizing Materiality: Titian’s Flaying of Marsyas.” In Titian: Materiality, Likeness, Istoria. Edited by Joanna Woods-Marsden. Turnhout, 2007: 15.
- 2007
- Ferino-Pagden, Sylvia, ed. Der späte Tizian und die Sinnlichkeit der Malerei. Exh. cat. Kunsthistorisches Museum, Vienna; Gallerie dell'Accademia, Venice. Vienna, 2007: 248.
- 2007
- Humfrey, Peter. Titian: The Complete Paintings. Ghent and New York, 2007: 260.
- 2008
- Dal Pozzolo, Enrico Maria. Colori d’Amore. Parole, Gesti e Carezze nella Pitture Veneziana del Cinquecento. Treviso, 2008: 110, 129-131.
- 2008
- Hochmann, Michel. “Le collezioni veneziane nel Rinasacimento: Storia e storiografia.” In Il collezionismo d’arte a Venezia: Dalle origini al Cinquecento. Edited by Michel Hochmann, Rosella Lauber, and Stefania Mason. Venice, 2008: 17, 37.
- 2009
- Ilchman, Frederick, et al. Titian, Tintoretto, Veronese: Rivals in Renaissance Venice. Exh. cat. Museum of Fine Arts, Boston; Musée du Louvre, Paris. Boston, 2009: 184-185.
- 2009
- Ilchman, Frederick, et al. Titien, Tintoret, Véronèse: Rivalités à Venise. Exh. cat., Musée du Louvre, Paris, 2009: 226-228.
- 2009
- Odom, Anne, and Wendy R. Salmond, eds. Treasures into Tractors: The Selling of Russia's Cultural Heritage, 1918-1938. Washington, 2009:
- 2009
- Tagliaferro, Giorgio, and Bernard Aikema, with Matteo Mancini and Andrew John. Le botteghe di Tiziano. Florence, 2009: 32, 261.
- 2010
- Cranston, Jodi. The Muddied Mirror: Materiality and Figuration in Titian’s Later Paintings. University Park, PA, 2010: 17, 21-31, 38-39, 48-49, 127.
- 2012
- Gentili, Augusto. Tiziano. Milan, 2012: 253-255.
- 2012
- Hale, Sheila. Titian: His Life. London, 2012: 559-560, 731.
- 2012
- Paglia, Camille. Glittering Images: A Journey through Art from Egypt to Star Wars. New York, 2012: 48-51, color repro.
- 2012
- Reist, Inge. "The Classical Tradition: Mythology and Allegory." In Paolo Veronese: A Master and His Workshop in Renaissance Venice. Edited by Virginia Brilliant. Exh. cat. John and Mable Ringling Museum of Art, Sarasota. London and Sarasota, 2012: 117, 118, color fig. 43.
- 2013
- Frank, Mary Engel. “'Donne attempate': Women of a Certain Age in Sixteenth-Century Venetian Art.” 2 vols. Ph.D. dissertation, Princeton University, 2006: 1:64-106, 303, 305, 306, fig. 46, 67, 77.
- 2014
- Grasso, Monica. Seguendo Tiziano: Viaggio nel ’500 sulle orme di un grande maestro. Rome, 2014: 91-92.
- 2014
- Humfrey, Peter. “The Chronology of Titian’s Versions of the Venus with a Mirror and the Lost Venus for the Emperor Charles V.” In Artistic Practices and Cultural Transfer in Early Modern Italy: Essays in Honour of Deborah Howard. Edited by Nabahat Avcioglu and Allison Sherman. Farnham and Burlington, VT, 2014: 221-232.
- 2014
- Mims, Bryan. "Asheville's Fortress of Art." Our State Down Home in North Carolina (1 October 2014): 40-42, 44, repro.
- 2016
- Jaques, Susan. The Empress of Art: Catherine the Great and the Transformation of Russia. New York, 2016: 398.
- 2019
- Linden, Diana L. "'In Honor of Dr. Martin Luther King': White Privilege and White Masks in William Christopher's Paintings of 1963." American Art 33, no. 3 (Fall 2019): 67, color fig. 9
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