Tiziano Vecellio


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Tiziano Vecellio:

see TitianTitian
, c.1490–1576, Venetian painter, whose name was Tiziano Vecellio, b. Pieve di Cadore in the Dolomites. Of the very first rank among the artists of the Renaissance, Titian was extraordinarily versatile, painting portraits, landscapes, and sacred and historical
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The artist is twice "Tiziano Vecellio" (305, 554, in the lives of Marcantonio and Girolamo da Carpi), once "Tiziano Vecello" (798, the life of Primaticcio), and three times "Tiziano Vecello," i.e., "Uccello" (802, 850, 873, the lives of Primaticcio and Clovio, and the account of the Accademici del Disegno).
(15) "No habiendo verdaderamente arte mas cercana a las letras de lo que lo es la pintura, entre estos hombres ilustres por altura de ingenio y de doctrina nos ha parecido bien incluir algunas cartas de tres clarisimas luces de la pintura: Miguel Angel, Rafael de Urbino y Tiziano Vecellio. Para que se vea de cuanto, ademas de en la excelencia de su arte (en la que se debe creer que en nuestro siglo han igualado a los antiguos), habrian sido tambien admirables en esta de la pluma si hubieran querido o podido prestar atencion".
What is the more familiar name of the 16th-century Italian artist Tiziano Vecellio?
What is the more familiar name of the 16thcentury Italian artist Tiziano Vecellio?
Tiziano Vecellio (Titian), was born in Pieve di Cadore and at the age of nine or 10 he moved to Venice.
Included are sculptures, tapestries, scientific instruments, maps, armor, books, and paintings by artists such as El Greco, Hieronymus Bosch, Tiziano Vecellio (aka Titian), Gianlorenzo Bernini, Diego Velazquez, and Francisco de Goya.
Arriving in Japan will be a dazzling array of masterpieces by painters ranging from Giovanni Bellini to Carlo Crivelli, Vittore Carpaccio, Tiziano Vecellio, Jacopo Tintoretto, and Paolo Veronese.
Las paginas dedicadas a la biografia de Tiziano Vecellio al final del Dialogo della pittura de 1557, subtitulado Aretino en recuerdo del amigo compare Pietro fallecido el ano anterior, son el culmen del esfuerzo de Lodovico Dolce por elevar en todas las partes inherentes a la pintura a Rafael sobre Miguel Angel, a quienes solo el cadorino ha sido capaz de superar (1).