| Portrait of Pope Paul III | |
|---|---|
 | |
| Artist | Titian |
| Year | 1543 |
| Location | Museo di Capodimonte, Naples |
Portrait of Pope Paul III (or Portrait of Pope Paul III Without Cap) is a 1543 oil on canvas portrait by Titian of Pope Paul III, produced during the pope's visit to Northern Italy. [1] It is in the collection of the Capodimonte Museum, Naples, southern Italy.
The work was completed by Titian during a meeting with Paul III in Ferrara, in April 1543 during a period of tension and political uncertainty leading up to the Council of Trent. [2]
The pope is depicted with unflinching realism and an old, tired and distrustful man, but who nevertheless has an intelligent and sharp expression. The painting is a reinterpretation of Raphael's Portrait of Pope Julius II . Characteristic of Titian's late style, it consists of broad brushstroke and loose definition in the form. The artist produced a slightly later variant two years later, also preserved in Naples, which shows Paul III wearing a camauro.
The portrait of was inherited by Elisabeth Farnese, mother of Charles of Bourbon, who took it to Naples in 1734 to be exhibited in the palace of Capodimonte, where it remains today.
There are several replicas of the same painting. One of them, preserved in the cathedral of Toledo, was traditionally attributed to Titian, who would have made it two years after the original. However, this attribution has been rejected by some authors, who have identified it as a later replica, possibly made by Anthony van Dyck. [3]
Pope Paul III, born Alessandro Farnese, was head of the Catholic Church and ruler of the Papal States from 13 October 1534 to his death, in November 1549.
Giorgione was an Italian painter of the Venetian school during the High Renaissance, who died in his thirties. He is known for the elusive poetic quality of his work, though only about six surviving paintings are firmly attributed to him. The uncertainty surrounding the identity and meaning of his work has made Giorgione one of the most mysterious figures in European art.
Tiziano Vecelli or Vecellio, known in English as Titian, was an Italian (Venetian) Renaissance painter of Lombard origin, considered the most important member of the 16th-century Venetian school. He was born in Pieve di Cadore, near Belluno. During his lifetime he was often called da Cadore, 'from Cadore', taken from his native region.
Palazzo Farnese or Farnese Palace is one of the most important High Renaissance palaces in Rome. Owned by the Italian Republic, it was given to the French government in 1936 for a period of 99 years, and currently serves as the French embassy in Italy.
Guido Reni was an Italian painter of the Baroque period, although his works showed a classical manner, similar to Simon Vouet, Nicolas Poussin, and Philippe de Champaigne. He painted primarily religious works, but also mythological and allegorical subjects. Active in Rome, Naples, and his native Bologna, he became the dominant figure in the Bolognese School that emerged under the influence of the Carracci.
Pope Paul III and His Grandsons is an oil on canvas painting by Titian, housed in the Museo di Capodimonte, Naples. It was commissioned by the Farnese family and painted during Titian's visit to Rome between autumn 1545 and June 1546. It depicts the scabrous relationship between Pope Paul III and his grandsons, Ottavio and Alessandro Farnese. Ottavio is shown in the act of kneeling, to his left; Alessandro, wearing a cardinal's dress, stands behind him to his right. The painting explores the effects of ageing and the manoeuvring behind succession; Paul was at the time in his late seventies and ruling in an uncertain political climate as Charles V, Holy Roman Emperor came into ascendancy.
Events from the year 1543 in art.
The Portrait of Cardinal Alessandro Farnese is a portrait of cardinal Alessandro Farnese by Raphael, executed circa 1509-1511.
The Venetian painter Titian and his workshop made at least six versions of the same composition showing Danaë, painted between about 1544 and the 1560s. The scene is based on the mythological princess Danaë, as – very briefly – recounted by the Roman poet Ovid, and at greater length by Boccaccio. She was isolated in a bronze tower following a prophecy that her firstborn would eventually kill her father. Although aware of the consequences, Danaë was seduced and became pregnant by Zeus, who, inflamed by lust, descended from Mount Olympus to seduce her in the form of a shower of gold.
A composition of Venus and Adonis by the Venetian Renaissance artist Titian has been painted a number of times, by Titian himself, by his studio assistants and by others. In all there are some thirty versions that may date from the 16th century, the nudity of Venus undoubtedly accounting for this popularity. It is unclear which of the surviving versions, if any, is the original or prime version, and a matter of debate how much involvement Titian himself had with surviving versions. There is a precise date for only one version, that in the Prado in Madrid, which is documented in correspondence between Titian and Philip II of Spain in 1554. However, this appears to be a later repetition of a composition first painted a considerable time earlier, possibly as early as the 1520s.
The classical sculptures in the Farnese Collection, one aspect of this large art collection, are one of the first collections of artistic items from Greco-Roman antiquity. It includes some of the most influential classical works, including the sculptures that were part of the Farnese Marbles, their collection of statuary, which includes world-famous works like the Farnese Hercules, Farnese Cup, Farnese Bull and the Farnese Atlas. These statues are now displayed in the Naples National Archaeological Museum in Italy with some in the British Museum in London.
Allegory of Justice is an oil-on-panel painting by the Italian Renaissance artist Giorgio Vasari. The painting was commissioned on 6 January 1543 by cardinal Alessandro Farnese for the main room of the Palazzo della Cancelleria in Rome, and was executed the same year. It and the rest of the Farnese collection were later moved to Naples and it is now in the National Museum of Capodimonte.
Portrait of a Young Man Seated on a Carpet is a c. 1525–1527 oil on panel painting by Rosso Fiorentino, now in the National Museum of Capodimonte. The identity of its subject is unknown.
Portrait of Pier Luigi Farnese is a heavily-damaged 1546 oil on canvas painting of Pier Luigi Farnese, Duke of Parma by Titian, now in Room 2 of the National Museum of Capodimonte.
Pope Paul III with a Nephew is an unfinished 1534 oil on slate portrait by Sebastiano del Piombo, now in the Galleria nazionale di Parma. The nephew's identity is unclear but the painting's presumed date suggests it may be Ottavio Farnese, whom Pope Paul III made Duke of Parma and Piacenza soon after the work's date
Penitent Magdalene is a c. 1550 oil on canvas painting by Titian, now in the Museo di Capodimonte in Naples.
Portrait of Cardinal Alessandro Farnese is a c. 1545 – 46 oil on canvas three-quarter-length portrait of Alessandro Farnese the Younger (1520-1589) by Titian, now in the Museo nazionale di Capodimonte in Naples.
Portrait of Pope Paul III with Camauro is a 1545 – 1546 oil on canvas painting by Titian, now in the Museo nazionale di Capodimonte in Naples.
Portrait of Charles V or Portrait of a Man Wearing the Order of the Golden Fleece is a c. 1549 oil on canvas painting by Titian, now in the Museo di Capodimonte in Naples.
Media related to Pope Paul III (Titian, National Museum of Capodimonte) at Wikimedia Commons| International | |
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