Self-Portrait (Titian, Madrid)
http://dbpedia.org/resource/Self-Portrait_(Titian,_Madrid) an entity of type: WikicatSelf-portraits
No es este el único autorretrato que Tiziano realizara, pero sí el más famoso. Giorgio Vasari consignó otro (hoy perdido), realizado en 1550. Así mismo consta documentalmente un autorretrato en el que el artista estaba representado sujetando un retrato de Felipe II. Por desgracia este cuadro desapareció en el incendio del Palacio del Pardo. En la actualidad solo se conservan dos: uno en Berlín y el del Prado que nos ocupa.
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Self-Portrait is an oil-on-canvas painting by the Italian painter Titian. Dating to about 1560, when Titian would have been over 70 years old, it is the later of his two surviving self-portraits. The painting is a realistic and unflattering depiction of the physical effects of old age, and as such shows none of the self-confidence of his earlier self-portrait (c. 1546–47) now in Berlin. That painting shows Titian in three-quarter view in an alert pose.
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Autorretrato (Tiziano)
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Self-Portrait (Titian, Madrid)
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26815657
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1063752655
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No es este el único autorretrato que Tiziano realizara, pero sí el más famoso. Giorgio Vasari consignó otro (hoy perdido), realizado en 1550. Así mismo consta documentalmente un autorretrato en el que el artista estaba representado sujetando un retrato de Felipe II. Por desgracia este cuadro desapareció en el incendio del Palacio del Pardo. En la actualidad solo se conservan dos: uno en Berlín y el del Prado que nos ocupa.
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Self-Portrait is an oil-on-canvas painting by the Italian painter Titian. Dating to about 1560, when Titian would have been over 70 years old, it is the later of his two surviving self-portraits. The painting is a realistic and unflattering depiction of the physical effects of old age, and as such shows none of the self-confidence of his earlier self-portrait (c. 1546–47) now in Berlin. That painting shows Titian in three-quarter view in an alert pose. Titian looks remote, aged and gaunt, staring into the middle distance, seemingly lost in thought. Yet the portrait projects dignity, authority and the mark of a master painter.
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4552
