Titian and Tragic Painting: Aristotle's "Poetics" and the Rise of the Modern Artist available in Hardcover
- Pub. Date:
- Yale University Press
Late in his life Titian created a series of paintingsthe “Four Sinners,” the “poesie” for his patron Philip II of Spain, and the “Final Tragedies”that were dark in tone and content, full of pathos and physical suffering.
In this major reinterpretation of Titian’s art, Thomas Puttfarken shows that the often dramatic and violent subject matter of these works was not, as is often argued, the consequence of the artist’s increasing age and sense of isolation and tragedy. Rather, these paintings were influenced by discussions of Aristotle’s Poetics that permeated learned discourse in Italy in the mid-sixteenth century. The Poetics led directly to a rich theory of the visual arts, and painting in particular, that enabled artists like Titian to consider themselves on equal footing with poets. Puttfarken investigates Titian’s late works in this context and analyzes his relations with his patrons, his intellectual and humanistic contacts, and his choices of subject matter, style, and technique.
|Publisher:||Yale University Press|
|Edition description:||New Edition|
|Product dimensions:||7.50(w) x 10.00(h) x (d)|
About the Author
Thomas Puttfarken, professor of art history and theory at the University of Essex, is also the author of The Discovery of Pictorial Composition: Theories of Visual Order in Painting, 14001800 and Roger de Piles’ Theory of Art, both published by Yale University Press.
Table of Contents
|Part I||On the Status of Painting in the Renaissance|
|1||Painting, Poetry and the Liberal Arts||15|
|2||Imitation, Moral Purpose and Learning||41|
|Part II||Titian and Tragedy|
|4||The Four Great Sinners||77|
|5||Michelangelo and Titian: Terribilita and Tragic Pathos||97|
|6||Titian's Mythological Paintings: Problems of Interpretation||129|
|7||Titian's poesie for Philip II as Painted Tragedies||155|
|8||The Final Tragedies and Titian's 'Late Style'||183|