Tiziano Vecellio, known simply as Tiziano, was born between 1488/1490 in Pieve di Cadore, a small town nestled in the Cadore mountains in the province of Belluno.

Still at a young age he left his native country to move to Venice and thus be able to receive adequate pictorial training.

He took his first steps under the guidance of Giovanni Bellini and then continued his career, in 1509, with the great Giorgione. After about a year his career underwent a strong momentum, his fame was confirmed and, in a short time, he became the official painter of the Republic of Venice.

In 1542 he also began a collaboration with Pope Paul III. He died in Venice on 27 August 1576 after a life full of successes and satisfactions.

THE VENUS OF URBINO

The Venus of Urbino, currently housed in the Uffizi Gallery, was commissioned in 1538 by Guidobaldo II Della Rovere as a gift for his young wife Giulia da Varano. The work takes up the theme of the Pudic Venus, a classic theme, which sees the goddess intent on covering her breasts and her private parts. In this work, the protagonist, with her gaze turned towards the viewer, is lying in bed where the characteristic "Titian red" stands out among the white sheets.

At her feet, symbolizing fidelity, you can see a little dog intent on resting, while in the background you can see two maids, one of which kneeling on the chest, intent on looking for a dress to put on the goddess. In this work, a theme very dear to Tiziano Vecellio emerges, namely that of time. The protagonist, in fact, raises in her right hand some red roses that represent beauty; if you look carefully at the work, however, you can see that roses are slipping from her hand. It is with this gesture that Titian wants to underline how over time physical beauty is destined to get lost, to wither, until it disappears.

PESARO SHOVEL

Pesaro altarpiece, commissioned by Jacopo Pesaro, is kept inside the Basilica of Santa Maria Gloriosa dei Frari in Venice. The work takes up the sacred conversation and, like other works by Tiziano Vecellio, can be divided into two dimensions. The first dimension sees in evidence, seated on a marble base, the Virgin with the child who innocently plays with her veil; behind it stand two large columns that rise towards infinity.

On the left, wrapped in a blue robe, Saint Peter appears with the book and the keys, his gaze is turned towards Jacopo Pesaro (the client), intent on venerating the Virgin. Next to the child, with his simple habit, Saint Francis appears and, behind him, Saint Anthony of Padua, intent on observing the faithful members of the Pesaro family. The second dimension is occupied by a small cloud, in which two angels are intent on straightening a cross.

THE ASSUMPTION

The Assumption was commissioned from Tiziano Vecellio by the Franciscan friars in 1516, with the aim of creating the main altarpiece of the church of Santa Maria Gloriosa dei Frari. The work can be divided into three parts. Below are the apostles, with their faces turned upwards, amazed and incredulous at the event they are witnessing. To underline the earthly dimension, Tiziano Vecellio highlights both the ground on which the apostles rest, and the blue sky behind them.

In the center, on a cloud surrounded and supported by angels, is the Virgin with her face turned towards God the Father. The background from this point on changes radically; it is characterized, in fact, by an intense light that envelops the sacred characters. Finally, flanked by two angels and intent on dominating the scene, we find God the Father, ready to welcome Mary in a divine embrace.

The work is characterized by a particular geometry dictated by the red color of the robes: in fact, if you join a virtual line between the Virgin and the two apostles with the red robe, you will notice the formation of a triangle. The latter, not surprisingly, is marked by the tip pointing upwards, towards infinity, towards God.

SACRED LOVE AND PROFANE LOVE

Sacred and profane love, currently kept in the Galleria Borghese in Rome, sees two very similar women represented in an almost mystical landscape: the first clothed and the second half-naked. Both are seated on a classic-style fountain, behind them appears a winged child, most likely Eos, God of love.