Titian’s «Three Ages of Man»anew interpretation
- 1 Universidad de Navarra, GRISO
ISSN: 2328-1308
Año de publicación: 2024
Volumen: 12
Número: 1
Páginas: 753-781
Tipo: Artículo
Otras publicaciones en: Hipogrifo: Revista de Literatura y Cultura del Siglo de Oro
Resumen
This article proposes an interpretation of Titian's The Three Ages of Man, based on a medal by Giovanni Boldù. Since thepaintingwas commissioned by the goldsmith Emiliano Targone, I claim that it was conceived as a gift for the wedding of his daughter Polissena to Giovanni Bernardi, who belonged in the same trade and therefore he must have been able to interpret the picture. Titian would have worked on the canvas between 1516 and 1524, and he produced an exceptionally beautiful epithalamic painting that, besides conforming to genre conventions, conveys a profound moral message that can be deduced from the medal
Referencias bibliográficas
- Abad, José A. and Manuel Garrido, Iniciación a la liturgia de la Iglesia, Madrid, Palabra, 1988.
- Abella Rubio, Juan José, «El túmulo de Carlos V en Valladolid», Boletín del Seminario de Estudios de Arte y Arqueología: BSAA, 44, 1978, pp. 177-200.
- Altieri, Marco A., Li nuptiali di Marco Antonio Altieri, ed. Enrico Narducci, Roma, Bartoli, 1873.
- Apianus, Petrus and Amantius, Bartholomaeus, Inscriptiones sacrosanctae vetustatis non illae quidem Romanae, sed totius fere orbis summo studio ac maximis impensis terra marique conquisitæ feliciter incipiunt, Ingolstad, in aedibus P. Apiani, 1534.
- Bayer, Andrea, Art and Love in Renaissance Italy, New York, Metropolitan Museum of Art, 2008. http://www.metmuseum.org/toah/hd/arlo/hd_arlo.htm
- Blanco, Mercedes, «El paisaje erótico entre poesía y pintura», Criticón, 114, 2012, pp. 101-137.
- Brigstocke, Hugh. «Three Ages of Man», in Italian and Spanish Paintings in the National Gallery of Scotland, 172-177. 2nd ed., Edinburgh, National Gallery of Scotland, 1993.
- Burnett, Andrew and Richard Schofield, «The Medallions of the “Basamento» of the Certosa di Pavia. Sources and Influence», Arte Lombarda, 120 (2), 1997, pp. 5-28.
- Butcher, John, «Giovanni Pontano, Ad uxorem: (De amore coniugali III 2)», Giornale storico della letteratura italiana 195, 651, 2018, pp. 321-352.
- Calvete, Juan C., El túmulo Imperial adornado de historias y letreros y epitafios en prosa y verso latino. Valladolid, Francisco Fernandez de Córdoba, 1559.
- Cartari, Vincenzo, Le imagini con la spositione de’i dei de gli antichi, In Venetia, per Francesco Marcolini, 1556.
- Cartari, Vincenzo, Le imagini de i dei de gli antichi, Venetia, Giordano Ziletti, 1571.
- Cartari, Vincenzo, Le vere e nove imagini de gli dei delli antichi... con esquisito studio & particolare diligenza da Lorenzo Pignoria Padovano, Padova, P.P. Tozzi, 1615.
- Checa, Fernando, Tiziano y las cortes del Renacimiento, Madrid, Marcial Pons, 2013.
- Colantuono, Anthony, Titian, Colonna and the Renaissance Science of Procreation: Equicola’s Seasons of Desire, London, Routledge, 2017.
- Colonna, Francesco, Hypnerotomachia Poliphili, Venetiis, Aldus Manutius, 1499.
- Donati, Valentino, «Individuato dopo 450 anni un dipinto presente in casa del’incisore di pietre dure Giovanni Bernardi da Castel Bolognese», Romagna arte e storia, XXXII, 95, 2012, pp.107-111.
- Donati, Valentino, L’ opera di Giovanni Bernardi: da Castel Bolognese nel Rinascimento, Faenza, Edit Faenza, 2011.
- Donati, Valentino. Pietre dure e medaglie del Rinascimento: Giovanni da Castel Bolognese, Ferrara, Belriguardo, 1989.
- Dundas, Judith,«‘A Titian Enigma», Artibus et Historiae, 6, 12, 1985, pp. 39-55.
- Dunn, Daisy, Catullus‘Bedspread: The Life of Rome’s Most Erotic Poet, Glasgow, William Collins, 2016.
- Excidium Troiae, Ed. E. Bagby Atwood and Virgil K. Whitaker, Cambridge (MA), The Mediaeval Academy of America, 1944.
- Goffen, Rona, Titian’s Women, New Haven, Yale University Press, 1997.
- Goffen, Rona. «Titian’s Sacred and Profane Love and Marriage», The Expanding Discourse, London, Routledge, 1992.
- Gombrich, Ernst H., «Botticelli’s Mythologies: A Study in the Neoplatonic Symbolism of His Circle», Journal of the Warburg Institute, 8, 1945, pp. 7-60.
- Gombrich, Ernst H., «Sobre la interpretación de la obra de arte. El qué, el porqué y el cómo», RA. Revista de Arquitectura, 5, 2003, pp. 13-20.
- Gombrich, Ernst H., Symbolic Images, London, Phaidon, 1972.
- Hill, George Francis, A Corpus of Italian medals of the Renaissance before Cellini, London, British Museum, 1930.
- Holberton, Paul, «The pipes in Titian’s “Three Ages of Man”», Apollo: The international magazine of arts, 492, 2003, pp. 20-30.
- Hope, Charles, «The “Camerini d’Alabastro” of Alfonso d’Este-I», The Burlington Magazine, 113, 824, 1971, pp. 641-650.
- Hope, Charles, Titian, New York, Harper & Row, 1980.
- Humfrey, Peter, «The Patron and Early Provenance of Titian’s Three Ages of Man», The Burlington Magazine, 145, 1208, 2003, pp. 787-791.
- Jaffé, David, «Three Ages of Man», Titian, National Gallery, London 19 February–May 18, 2003, London, National Gallery, 2003.
- Janson, Horst W., «The Putto with the Death’s Head», The Art Bulletin, 19, 3, 1937, pp. 423-449.
- Joannides, Paul, Titian to 1518: The Assumption of Genius, New Haven, Yale University Press, 2001.
- Kinch, Ashby, Imago Mortis: Mediating Images of Death in Late Medieval Culture, Leiden, Brill, 2013.
- Koos, Marianne, «Eine Wende vom Menschen zum Mann? Zum Männlichkeitsentwurf in Tizians “Drei Lebensalter”», kritische berichte - Zeitschrift für Kunstund Kulturwissenschaften, 29, 4, 2014, pp. 20-38.
- Künstle, Karl, Die Legende der drei Lebenden und der drei Toten und der Totentanz: nebst einem Exkurs über die Jakobslegende, Freiburg, Herder, 1908.
- Long, Jane C., «Botticelli’s Birth of Venus as Wedding Painting», Aurora, IX, 2008, pp. 1-26.
- López, Diego, Declaración magistral sobre las sátiras de Juvenal, príncipe de los poetas satíricos, Madrid, Díaz de la Carrera, 1642.
- Luh, Peter, Kaiser Maximilian Gewidmet: Die Unvollendete Werkausgabe Des Conrad Celtis Und Ihre Holzschnitte, Berlin, Peter Lang, 2001.
- Nichols, Tom, Titian and the End of the Venetian Renaissance, London, Reaktion Books, 2013.
- Noack, Fried, «Kunstpflege und Kunstbesitz der Familie Borghese», Repertorium für Kunstwissenschaft, 1.5, 1929, pp. 191-231.
- Palacios Méndez, Laura, «Belleza, “venustà” y virtud: De la “bella donna anonima” al retrato de la esposa virtuosa en la Venecia de inicios del Cinquecento», Anales de Historia del Arte, 28, 2018, pp. 87-111.
- Panofsky, Erwin, Meaning in the Visual Arts: Papers in and on Art History, Garden City, Doubleday, 1955.
- Pontano, Giovanni, Hoc in uolumine opera haec continentur. 5. vols., Neapoli, Sigismundo Mayr, 1505-1515.
- Pope-Hennessy, John, The Robert Lehman Collection: Vol. 1, Italian Paintings, New York, Metropolitan Museum of Art, 1987.
- Prater, Andreas, Venus at Her Mirror: Velázquez and the Art of Nude Painting, Munich, Prestel, 2002.
- Robertson, Giles, «The X-Ray Examination of Titian’s “Three Ages of Man” in the Bridgewater House Collection», The Burlington Magazine, 113, 825, 1971, pp. 721-726.
- Rowland-Jones, Anthony, «The recorder in the art of Titian», American Recorder, 43, 2, March 2000, pp. 7-13.
- Sannazaro, Jacopo, Arcadia & Piscatorial Eclogues, tr. Ralph Nass, Detroit, Wayne State University, 1966.
- Sannazaro, Jacopo, Arcadia, ed. F. Erspamer, Paris, Mursia, 1990.
- Serrano Cueto, «La novia remisa y el novio ardiente en el epitalamio latino: una imagen que pervive en el Renacimiento», Cuadernos de Filología Clásica. Estudios Latinos, 23, 1, 2003, pp. 153-170.
- Settis, Salvatore, Giorgione’s Tempest: Interpreting the Hidden Subject, Chicago, University of Chicago Press, 1990.
- Seznec, Jean, «Youth, Innocence and Death: Some Notes on a Medallion on the Certosa of Pavia», Journal of the Warburg Institute, 1 (4), 1938, pp. 298-303.
- Storck, Willy F., Die Legende von den drei Lebenden und von den drei toten, Tübingen, Druk von H. Laupp Jr., 1910.
- Tervarent, Guy de, Attributs et symboles dans l’art profane, Genève, Droz, 1958, pp. 389-392.
- Vasari, Giorgio, Le vite de’piu eccellenti pittori, scultori, e architettori, Fiorenza, appresso i Giunti, 1568.
- Wethey, Harold E., The Paintings of Titian, London, Phaidon, 1975, pp. 175-179.
- Wood, Christopher S., Forgery, Replica, Fiction: Temporalities of German Renaissance Art, Chicago, University of Chicago Press, 2008.
- Zafra, Rafael, «El díptico de la Muerte de Hans Baldun Grien: ¿Donde está, ¡oh muerte! tu victoria?», Quiroga, 23, 2024, en prensa.
- Zafra, Rafael, «El prudente Tiziano y su emblema de la prudencia», Potestas: Religión, poder y monarquía, 3, 2010, pp. 123-146.