They Just Keep Coming..Another Titian

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01/23/2013

They Just Keep Coming…..Another “Titian”

that’s the way of it- you wait for one Titian to come along, then two or three come along at once. I’ can’t help agreeing with BG on Art History News that this might be the next Titian upgrade.

I will grant you that the woman on the left looks like a Titian figure, and maybe even the man next to her- but the rest of it looks like a cut n’ paste job. Reminiscent of Venetian concert parties. The NG have labelled it a “Concert”, but it could be a blending of an allegory of Love- especially the two figures on the left. and a musical picture. I’m thinking of ensemble groups by Venetian artists like Paris Bordone’s but his are superior in quality to this.

Comparing the woman on the NG site with other ones by Bordone I’m struck by how the drawing of the eyebrow matches the one, shape of the ear too, well the physiognomy generally- and I don’t apologise for this traditional type of connoisseurship. Try the woman in Bordone’s “Two Lovers” (Brera, Milan, c. 1525). “The Genius of Venice” (RA, 1983). As Bordone trained with Titian, he could well be the “imitator”, although I don’t think he would paint such a sub-standard picture. At the same time the woman in the Brera painting could be an echo of Titian, which would suit those who would want to see it as one of his creations.

Possibly a member of Titian’s workshop, or more likely a minor Venetian painter familiar with the conventions of Venetian painting working later in the century- they’re dating it 1580- but clueless how to weave them all together into a coherent composition.

Points of interest, but not a great painting. As with Microsoft, an upgrade too far, if it happens. Leave it at that…..

Posted at 01:58 PM | Permalink

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Adroit observations once again David,

This self-evidently poorly painted composition makes “The Judgement of Paris” look superlative doesn’t it, and exemplifies the present “deficiency of Connoisseurship” at both Institutional and in the Art History profession generally. The forthcoming Volume II will further prove this mid-year, when 5 most significant reattributions in International public institutions will be revealed to the lasting benefit of art history.

That Connoisseurship deficiency is the direct result of the presumption that rank in either of the above imbues an equivalent degree of Connoisseurship, - the discernment of quality and/or accurate assessment of authorship/authentication of paintings and drawings. The above “Titian” claim appears demonstate there’s no guarantee of it, either as a “taught” skill, but especially not its rarer “innate” manifestation.

Notwithstanding vast overpainting, even the casual art admirer may immediately note that the anatomical structure of the two hands near the book is ‘sausages like’, and the head profile of the reading boy flat and clumsy. The other figures are of varying degrees of weakness throughout the very basic rendition, showing an overall skills weakness by its unknown author. Even the arm of the woman at left is out of proportion. Compare the forearm’s relative bulk, to the equal size of her face, and that of the rear instrument player, even allowing for some perspective bias.

Conversely, the most disturbing point of all is that the “The Judgement of Paris”, a 500 year much admired and Louvre/Royal Academy exhibited masterpiece, with its imprimatur of the greatest past Connoisseurs” and definitive new research evidence as to its actual origins; is considered by like assessors as inconsequential. This does not change any of its inherent qualities or credentials, but presciently demonstrates the above points. Fortunately readers can refer back to it on your AHT site under “Raphael”, and make comparisons and “assessments” of both compositions for themselves, as to which is ultimately the more masterful and worthy work.

Kind regards, Graeme

Posted by: Graeme Cameron | 01/24/2013 at 03:01 AM

David:

I think that it would be hard to find a Titian portrait of a man with a haircut similar to the man in the green cloak. Perhaps you could find a friar but then the woman wouldn't be leaning on him.

Frank

Posted by: Francis DeStefano | 01/25/2013 at 02:04 AM

Graeme, It's mystifying why the NG should promote such inferior works of art, not to mention spending a lot of money on restoration campaigns. Why not buy the LOrenzetti, which would plug a real gap in the early Ren Siena part of the collection; that makes more sense. The NG has a woeful Lorenzetti holdings, and they have enough Titians. Why not expand those parts of the collection which are underrepresented. Isn't it the job of a museum director to fill gaps in collections? It used to be before museums started chasing the big names leaving lesser-known painters neglected. This can be traced back the Madonna of the Pinks, which Beck rightly pointed out was the thin end of the wedge.

The Met have a better acquisition policy. Look at the purchase of the Santi di Tito, almost nobody in art history celebrity terms.

Re the J of P, it's manifestly a better work than this obscure picture.

Frank- Good point. I still maintain that this is yoking of two different kinds of genre- allegory of love, lover's scene, with a concert party.

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