Crowned with Thorns, Titian

Crowned with Thorns, Titian
Crowned with Thorns, Titian
Anonim

From the 16th century it will be very common for Renaissance artists to reinterpret works that they themselves had already designed and in which the artist seeks a new dimension or design, these pieces acquire a singular importance since They often convey to us the evolution that artists' painting undergoes in a much more mature stage, this evolution is especially interesting in the works that we analyze here, two Crowning with Thorns, made by the Venetian artist Tiziano.

Titian_-_Christ_crowned_with_Thorns_-_Louvre

Tiziano Vecello or Vecelli (1477 – 1576) is one of the best representatives of Venetian painting in the Renaissance period. Not many reliable data are known about his life, quite the contrary, since not even his date of birth is documented. It seems that the artist could have been born in the town of Cadore and that he moved to Venice at a very young age to train in the workshop of a famous mosaicist but due to his talent he was welcomed into the workshop of Bellini himself. Titian's fame soon spread beyond the borders of Venice and Italy working for some of the most famous patrons in all of Europe. His work was so extensive and extensive that he was able to work practically in all pictorial genres with great mastery, thus in Titian's work his portraits are just as interesting as his mythological or religious scenes.

LaThe First Coronation of Christ is an oil painting on panel in the mid-16th century, specifically in the year 1540. It is a vertical format work that is about three meters high and just over a meter and a half wide. width, which was commissioned by the Brotherhood of the Holy Crown for the Church of Santa Maria della Gracia in Milan and is currently in the Louvre Museum in Paris.

The Coronation chapter appears in the Gospels, both in Saint John and in Saint Mark and Saint Matthew and responds to Pontius Pilate's idea of ​​wanting to please the Jewish people without having to execute a man he knew innocent but had no courage to defend. In the foreground, the artist presents us with the Roman soldiers, in a tumultuous scene full of drama, violence and movement.

It is precisely this drama of the piece that allows us to relate it to the works of Julius Romano or even to classicist statuary, reminding us of works of Hellenism such as Laocoön himself or even the famous terribilitá of the also Renaissance painter Miguel Ángel Buonarroti. The scene takes place in an interior with a classicist atmosphere with a semicircular arch and the sculpture of the Emperor Tiberius, which in the second painting made in the 1970s, no less than twenty years later, the artist decides to remove and replace with a lamp.

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