Portrait of Francesco Maria della Rovere | |
---|---|
Artist | Titian |
Year | 1536-1538 |
Medium | oil on canvas |
Dimensions | 114 cm× 103 cm(45 in× 41 in) |
Location | Uffizi, Florence |
Portrait of Francesco Maria della Rovere is an oil on canvas painting by Titian, from 1536-1538. It depicts Francesco Maria I della Rovere, Duke of Urbino. It is held now in the Uffizi, in Florence. Signed TITIANVS F.[ECIT], it forms a pair with the same artist's Portrait of Eleonora Gonzaga della Rovere , Francesco's wife, also in the Uffizi. [1]
The pose chosen is meant to recall the portrait of Charles V, executed by Titian in the Ducal Palace of Mantua, within the series of the Twelve Caesars and now lost, only known from engravings. The duke is shown at half-length, he wears armor and, slightly rotating his torso, rests the commander's baton on his side (symbol of the generalship obtained by the Venetian Republic), while stretching out his right arm near the hilt of his sword.
His gaze is fixed towards the viewer, highlighted by the compositional cut that places him against the dark background of the wall, while the rest of his body has a red velvet drape behind it that covers a shelf. Resting on it are his helmet, with a sumptuous figurative crest (a dragon, an allusion to his ties with the House of Aragon) and plumage, and other marshal's batons: one has the insignia of the Papal State, the other that of the Florentine Republic. Among these is an oak branch with buds, an object of the evident heraldic and dynastic meaning: the cut branch throws new leaves, alluding to the obtaining of the fief of Urbino after the extinction of the House of Montefeltro. In addition, there is a small scroll with one of the duke's mottos, "SE SIBI", which would allude to his will to fight for himself and for his family: therefore the four sticks represent his entire brilliant military career, at the head of the militias of Venice, Florence, the pope and his own, or the Duchy of Pesaro/Urbino. [2]
Despite the ceremonial pose, the portrait of the duke is striking for its human intensity, according to a style pursued by Titian in those years, that also appears in the portraits of the pope and the emperor. The duke's skin shows the signs of the passage of time, but instead of making the protagonist unattractive, they seem to accentuate some of his qualities, such as his value, nobility of spirit, and courage. Framed by the beard and dark hair, his face shines with a beam of light that carefully peers its details. [3]
Titian uses several brushstrokes for different effects, making it, for example, rapid for the feathers of the crest, rough and creamy for the red satin, dense and creamy for the complexion, smooth and brightened with touches of white to give the shining effect of the armor. [4]
Lorenzo di Piero de' Medici was the ruler of Florence from 1516 until his death in 1519. He was also Duke of Urbino during the same period. His daughter Catherine de' Medici became Queen Consort of France, while his illegitimate son, Alessandro de' Medici, became the first Duke of Florence.
The Venus of Urbino is an oil painting by Italian painter Titian, depicting a nude young woman, traditionally identified with the goddess Venus, reclining on a couch or bed in the sumptuous surroundings of a Renaissance palace. Work on the painting seems to have begun anywhere from 1532 or 1534, and was perhaps completed in 1534, but not sold until 1538. It is currently held in the Galleria degli Uffizi in Florence.
The Young Man with an Apple is an oil on poplar painting by the Italian High Renaissance painter Raphael, executed c. 1505. It is housed in the Uffizi Gallery in Florence. Most probably made for the della Rovere/Montefeltro family in Urbino, it is often thought to be the portrait of Francesco Maria I della Rovere, grandson of Federico da Montefeltro and future Duke of Urbino through an adoption arranged in 1504 by his uncle, pope Julius II.
The Duchy of Urbino was an independent duchy in early modern central Italy, corresponding to the northern half of the modern region of Marche. It was directly annexed by the Papal States in 1631.
Portrait of Elisabetta Gonzaga is an oil on wood painting attributed to the Italian Renaissance artist Raphael, completed c. 1504–1505, and today housed in the Uffizi Gallery, Florence.
Guidobaldo II della Rovere was an Italian condottiero, who succeeded his father Francesco Maria I della Rovere as Duke of Urbino from 1538 until his death in 1574. He was a member of the House of La Rovere. Guidobaldo was an important patron of the arts in general, and of Titian in particular, commissioning his own portrait, and buying Titian's Venus of Urbino.
Francesco Maria II della Rovere was the last Duke of Urbino.
Eleonora Gonzaga, Duchess of Urbino (31 December 1493 – 13 February 1570 was Duchess and for sometime regent of Urbino by marriage to Francesco Maria I della Rovere, duke of Urbino. She served as regent during the absence of her spouse in 1532.
Livia della Rovere was an Italian noblewoman of the House of della Rovere and the last Duchess of Urbino (1599–1631).
La Bella is a portrait of a woman by Titian in the Palazzo Pitti in Florence. The painting shows the subject with the ideal proportions for Renaissance women. In parallel the stringent composition corresponds to Titian's real portraits. The work can be dated by a letter about "that portrait of that woman in a blue dress" in May 1536.
The Portrait of Ippolito de' Medici is an oil on canvas portrait of Ippolito de' Medici by Titian, from 1532-1533. It is held now in the Palazzo Pitti, in Florence. He appears dressed in an Hungarian outfit.
The Portrait of Guidobaldo da Montefeltro is a picture by the Italian Renaissance artist Raphael, dating from around 1506 and housed in the Uffizi Gallery, Florence. It portrays Guidobaldo da Montefeltro, duke of Urbino.
Giulia della Rovere was an Italian noblewoman. A portrait of her by Titian survives in the Palazzo Pitti in Florence.
Portrait of Eleonora Gonzaga della Rovere is a 1538 painting by Titian, now in the Uffizi in Florence alongside its pair, Portrait of Francesco Maria della Rovere, showing Eleonora's husband. It formed the prototype for some of his later portraits, such as that of Isabella of Portugal.
Portrait of Pope Sixtus IV is an oil on panel portrait of Pope Sixtus IV by Titian and his studio, from c. 1540. It is held in the Uffizi, in Florence.
Portrait of a Knight of Malta is an oil on canvas painting by Titian, from c. 1515. It depicts a knight belonging to the Order of Malta. It is now in the Uffizi, in Florence.
Portrait of Galeazzo Maria Sforza is an oil on panel painting by Piero del Pollaiuolo, now in the Uffizi in Florence.
Portrait of Cosimo the Elder is an oil on panel painting by Pontormo, executed c. 1519–1520, now in the Uffizi, Florence.
Giulia da Varano, also known after her marriage as Giulia da Varano della Rovere, was an Italian noblewoman and member of the Da Varano family. She was the ruling Duchess of Camerino during 1527–1539 and by marriage Duchess of Urbino from 1534 until her death.
Penitent Magdalene is a c. 1550 oil on canvas painting by Titian, now in the Museo di Capodimonte in Naples.