In collaboration with Fondazione Centro Studi Tiziano e Cadore
Traditionally, the history of art takes it for granted that the great painters of the past produced their masterpieces in a kind of splendid isolation. In more recent times, however, specialists realized more and more that it did not work that way; not quite. They discovered that accomplished artists ran oftentimes extensive workshops. This implies that many of the works produced were to a great extent the result of a collective effort, and not of a single solitary genius. It may therefore strike as odd that the vast corpus of works of Titian has never been examined in a systematic way from this point of view. Titian turned out to manage one of the first "fabbriche d'immaginià Â à‚Â¢à Â¢à¢â‚¬Å¡à‚Â¬à â€šà‚Â� ('factory of images') catering not only to the local and regional, but also the European 'market'. It was a kind of center of production that in three quarters of a century was able to produce a prohibitive amount of different types of artworks influencing profoundly the course of development of Italian and European art. It would be more correct to speak of a 'Titian system' than of 'Titian' and it should be looked at as a fairly flexible and pragmatic organism capable to adapt to the changing needs. The above presents in main lines the vast theme this book covers. It brings innovation in method and substantially new data. The book offers along chronological lines a series of various routes that can be taken to find one's way in the immense catalogue of works. These routes cross over in Titian's two sojourns in Augsburg and coincide with a fundamental restructuring of the production system. The different typologies and the amount of paintings executed by Titian and his workshop have been subdivided in two distinct phases placed before and after his trips to Germany and classified by requirements and purposes. In the last section the focus shifts in the workshop at the end of the sixteenth and the beginning of the seventeenth century, during which period this 'modello Tiziano' continued its course of crystallization. It proved to have played an essential role in the new conception of painting handed down to us by great European masters. This book carries the signature of four authors who collaborated during the last three years in a collective enterprise based on one central concept that comes to the fore in the organic and tripartite structure of this volume.
Giorgio Tagliaferro, Bernard Aikema, Matteo Mancini, Andrew John Martin