Titian allegory of prudence. Amazing allegories of Titian painting: Who served as the prototypes for the "strange picture" of the brilliant Italian

Transfer of an abstract concept with the help of an image. This is one way of communicating to the visitor about the garden's program and the tastes and beliefs of the owner.

Garden sculpture almost always has an allegorical load. The upper garden of Versailles is decorated with four groups of "Seasons" - a reclining god or goddess surrounded by children's figures who explain the plot with their actions. In Flora's group(Spring ) they weave wreaths of roses, in the pool of Saturn (Winter) they warm themselves by the fire.

In Versailles (and in Arkhangelsk near Moscow) the visitor is greeted by female figures of the four Counties of the World - Europe with a bull, Asia in oriental clothes, Africa with a helmet in the form of an elephant's head and America crowned with eagle feathers. The garden turns out to be the center of the world and the focus of its endless expanses. In Pavlovsk, one of the first impressions of a traveler is the Pavilion of the Three Graces, whose marble figures support a vase dedicated to their absent mistress Venus. Thus, the perception of the park is colored with the themes of beauty and love.

A more complex use of allegory is to allude to literary or mythological parallels. In Nymphenburg, the country residence of the Bavarian electors, among the sculptures stalls there is Saturn devouring the baby - this is an allegory of time and the change of generations (similar to the change of the age of Saturn by the power of Jupiter).Nearby stands his wife Rhea., founder of cities- the old woman the crown of the fortress walls. Together these figures createimage of mythical antiquity, the beginning of history and the transience of earthly life.

Allegories are also found in garden beds - made of colors coats of arms, fleurs-de-lis and crowns. In Versailles, you can see flower beds with silhouettes of lilies, the heraldic flower of the Bourbon dynasty.

And in the novel by Francesco Colonna " Love struggle in the dream of Polyphilus" (1499) the hero sees on the island of Venus a flower bed with an image of an eagle and the inscription "ALES MAGNA DICATA OPTIM [O] IOVI" - "Great bird dedicated to the good Jupiter" (lat.).

In the Dutch royal residence Het Loo arranged fountains- allegories: terrestrial and celestial globes, splashing in all directions with streams of water. It is not difficult to guess that they express the idea of ​​​​the world power of Holland.

The beauty of garden allegory is in the absence of words. Explained by a sign with a signature (as Peter I did with the sculptures of the Summer Garden), the allegory becomes instructive, separated from the garden world. The more natural the image fits into the landscape, the more interesting it is to meet, solve and evaluate it. In the romantic park of the estateSofiyivka has a stage decorated with a broken column and a three-jet cascade. Cascade"Three Tears" symbolized grief for the three dead children of Stanislav and Sophia Pototsky.

In love with the poetry of Versailles AlexanderBenois not only depicted the fountains of the Seasons, but also fantasized about them, turning allegories understandable to everyone into mysterious, symbolist images. In "King's Walk" the figure of God is missing, and, as if left unattended, the curious bronze babies turned to Louis in front, and to the viewer with their backs...

IN " Fantasies on the Versailles theme" the bosquets and hermes of the gloomy park grow to the sky, the wind carries away the tiny figures of the courtiers, and in the pool, which has become from a round octagonal, a gilded boy is visible - its only inhabitant.

Immediately after my first trip to Versailles, I sketched a picture in which, among the blackened and bare gardens on the terrace of Latona, the king dressed in winter clothes, accompanied by several entourages, appears. Now this “vision” began to haunt me, and wherever I directed my steps in Versailles, I always saw this same, slightly bent, but still majestic figure, now stepping heavily, leaning on a cane, now sitting in a gilded colossal figure. armchair. At first I thought of placing such a scene in the setting that served me for the very first of my Versailles sketches - in other words, by the pool of Latona. But then I came up with a more expressive “decoration”, namely, I depicted something that looked like one of the four pools of the Seasons.

Alexander Benois. My memories

Allegory of time ruled by wisdom.

Titian, judging by this work, somewhere in the Vatican clearly saw a statue of Serapis, or visited the ruins of his temple, which, by the way, were preserved by the Italians and survived to our time. You can see them. But here is what art historians write about the painting.

“The painting “Allegory of Time” has a deep philosophical meaning. In ancient mythology, the language of symbols was used to more accurately designate certain concepts, to enhance the expressiveness of the image. Titian compares the age of a mature man with a lion - everything is in his power, he rules the world, and the age of a young man with the trusting readiness of a young dog to serve, old age gets wisdom, a deep knowledge of life, loneliness and physical weakness.

Well, why ... - poetic. Although it is very debatable - very often it is the weak elders who rule the world. In fact, the painting is called "Allegory of Prudence" and is equipped with letters in the upper part, which form the words "EX PRAETERITO / PRAESENS PRUDENTER AGIT / NE FUTURA ACTION DETURPET". Which means sublinearly - the past / present acts prudently so as not to spoil future actions. In other words: Prudence is the memory of the past, organized in the present in order to contemplate the future.

Isn't it a slightly different meaning? If we also take into account that the combined symbol of Osiris, Set, Anubis, Serapis, Pluto and Enki served as the artist's model. Gods, one way or another, representing the underworld.

Bakker, Jacob de - Three Ages. Allegory.

Time is a manifestation of being from the point of view of the past, present and future and the relations resting on them: “earlier”, “simultaneously”, “later”. Time is indifferent to what exactly is changing, it represents the unity (integrity) of the past, present, future. Time flows into the future, and events go into the past. Unlike the past that has already come true and the present filled with events, the future is not filled with them and is open for creation.

Getting up one day before dawn, I realized: it's time! The Black Mountain is waiting for me beyond the distance. For many years in that distant land, Maybe, breathing a little, On chains in a crystal coffin My soul sleeps. I had to lose her At the time of my black years. Before I could be born into the world. They told me something about the spindle, But they buried her With faith at the same time! This sleeping princess For many years in a row Neither fanfares nor sirens Could raise. A lie, powdered thickly, Guarded the coffin, And the heart was empty, Though roll with a ball. No, there was no love for the Father of nations, But the Pain of innocent victims came to us through the years. We did not suffer without measure, We because of him - A generation without faith, That's all! Musa spat out with blood A long-term gag! Yet, what is it - Passed stage? Anger, whether human envy Killed them, excluding the best From among the living! And then all these years - Emptiness and lies! That's where she comes from - This youth! And, of course, it was necessary, It is necessary all the same At the hour when it is deadly stuffy, Open the window!

While still alive Titian Vecellio da Cadore He was awarded the title of "King of painters and painter of kings" by his contemporaries. He was considered the best portrait painter of his time, and to be captured on his canvas meant to gain eternal immortality. Whom did the great Titian immortalize on the allegorical canvas of the late period - further in the review.

https://static.kulturologia.ru/files/u21941/Tizian-0001.jpg" alt=" "Allegory of Time, which Prudence controls." (1565-1570). 75.6 x 68.7 cm Author: Tiziano Vecelio (London, National Gallery)." title=""Allegory of Time, which is controlled by Prudence." (1565-1570). 75.6 x 68.7 cm.

In extreme old age, living out his days in solitude and rethinking his experiences, Titian, apparently, remembered his old allegory painting “Three Ages” (1512) and in response to his reflections, the artist wrote an unusual canvas “Allegory of Time, which is controlled by Prudence”, at the top of which he inscribed in Latin: "Ex praeterito praesens predenter agit, ni futurum actione deturpet", which translates to: “Relying on the past, the present acts prudently so as not to harm the future”. This message, which is the key to deciphering the allegory of this canvas, and the picture itself should be interpreted as a testament of Titian addressed to posterity.

a three-headed animal with the heads of a wolf devouring the past; a lion, personifying the power of the present; barking dog awakens the future" .!}

Until some time, it was believed that the canvas depicted: on the left - Pope Julius II or Paul III, in the center - Duke Alfonso d "Este, on the right - Charles V. But researchers of the artist's work proved that when working on this allegory, Titian least of all thought about rulers who had once died, and that he was not thinking about death, but about life, depicting himself and two people so dear to him - his beloved son Orazio and his young nephew Marco Vecellio.

https://static.kulturologia.ru/files/u21941/Tizian-0010.jpg" alt="Self-portrait. (circa 1567). Author: Tiziano Vecelio. Prado." title="Self-portrait. (about 1567).

As we can see, the hawk profile of Titian, personifying the past, is the same face as in the famous self-portrait in the Prado, dating from the same period as"Аллегория". Тициану в то время было уже под 80. Понимая, что прошлое, как и будущее менее «реальны», нежели настоящее, художник все же изобразил его сияющим от избытка света.!}

In the center of the canvas is the devoted son of Orazio Vecellio, who, being the direct opposite of his vicious brother Pomponio, was his father's faithful assistant throughout his life. Then he was 45 years old.

The third young face in profile, personifying the future, belongs to the artist's nephew, Marco Vecellio, whom he took into the house and surrounded with care. By the time Titian wrote the Allegory, he was just over 20 years old. And, therefore, he, as it were, acts as the final link of the three generations of the Vecellio family.

https://static.kulturologia.ru/files/u21941/Tizian-0003.jpg" alt=" "Three Ages". (1512). Author: Tiziano Vecelio. National Gallery of Scotland (Edinburgh)." title=""Three Ages". (1512).

The above canvas"Три возраста", написанное мастером почти за полвека до «Аллегории», заключает в своем содержании пасторальные элементы, раскрывающие идею трех возрастов в жизни человека - младенчество, молодость и старость. Исходя из этого видим, что все образы вместе взятые заключают в себе иносказательное значение и "читать" их следует справа налево. А еще «Три возраста» – это история отношений двоих: мужчины и женщины. И совсем неслучайность здесь: два младенца, двое взрослых, два черепа. !}

https://static.kulturologia.ru/files/u21941/Tizian-0005.jpg" alt=""Three ages". Fragment.

The left side of the canvas is balanced by a loving young couple in the prime of life, filled with sensual pleasure, located under the dense canopy of trees. They represent the middle of life, when a person is young and full of strength, desires, health and energy. The girl seems to be taking away from the man his flute, his music, and together with the flute symbolically takes away his soul and life.

https://static.kulturologia.ru/files/u21941/Tizian-0015.jpg" alt="Pieta - Lamentation of Christ. Author: Tiziano Vecelio." title="Pieta - Lamentation of Christ.

Titian did not let go of the brush until his death. Even on the last day, completing his earthly journey, he finished his last creation -"Пьета. Оплакивание Христа". Он успел даже его подписать: "Тициан сделал". Тут же завещал установить это полотно в часовне над своим надгробием и отдал распоряжение накрыть большой стол на множество персон, чтобы отдать дань уважения своим друзьям, ушедшим из жизни ранее. Но к поминальному ужину, который художник планировал провести в одиночестве, Тициан Вечеллио выйти так и не успел.!}

The theme of the pieta was touched upon by many artists and sculptors during the Renaissance. The crowning achievement of Michelangelo Buonarotti, a brilliant master of a great era, was a sculpture made of pink marble, amazing in its composition and artistic performance.

IN 1508 IN VENICE THE ARTIST THIRTY YEARS OLD GIORGIONE
HAS FINISHED THE FACADE PAINTINGS OF THE GERMAN COMPOUND, THAT AMAZED
CONTEMPORARY. BUT ESPECIALLY THE EXPERTS WERE PRAISING THE FRESCOES OF THE SIDE FACADE, THE AUTHOR OF WHICH WAS NOT THE MASTER HIMSELF, BUT STILL A COMPLETELY YOUNG STUDENT OF GIORGIONE - TITIAN VECELLI FROM CADORE. THIS IS THE FIRST TIME IN VENICE THE NAME THAT BECOME SUBSEQUENT $
VII A WHOLE EPOCH IN THE ART OF ITALY.

Titian's creative life covers almost three-quarters
turbulent 16th century. He survived the years of the highest
the rise of the spiritual forces of Italy, and the years of deep crisis
throughout the culture of the Renaissance.

Around 1505, Leonardo da Vinci wrote the famous
La Gioconda, in 1508 the young Michelangelo begins
painting of the Sistine Chapel. And after a few years
contemporaries put the name of Titian next to the names of these illustrious masters.

Created by a great artist in scale
surpasses the work of Leonardo da Vinci, Raphael and
Michelangelo combined. But the greatest masterpieces
Titian are born in the second half of the 16th century, in an era of dramatic upheavals that marked the death
of that beautiful world that the masters of the Renaissance created in their imagination. A deep old man, who has long lost popularity in Venice and hardly receives
orders, he now writes pictures for himself.

One of the late Titian's works is "The Allegory of Time Ruled by Prudence". Here the portraits of Titian himself, his son Orazio and his grandson Marco are connected
with the heads of a wolf, a lion and a dog, which personifies
past, present and future. In Christian symbolism, the three-headed wolf-lion-dog serves as a symbol of Prudence and its three parts: memoria (“memory”), intelligentia
("knowledge"), prudentia ("experience").

The key to deciphering the allegory of the painting is
in the inscription at the top of it: “Ex praeterito praesens predenter agit, ni futurum actione deturpet” - “Relying on
past, present acts prudently so as not to
hurt the future."

"Allegory of Prudence", like all later works
Titian, is distinguished by a complex pictorial structure, blurring of the boundaries between forms and the subtlest emotional and psychological interpretation of religious and mythological themes. The surface of the canvas is, as it were, woven from strokes applied with a wide brush, sometimes rubbed with fingers. Shades of complementary, interpenetrating or contrasting tones form a kind of unity from which forms or muted shimmering colors are born.

One of Titian's students left a detailed description of how the master worked in recent years:
“Titian covered his canvases with a colorful mass, like
would serve as a bed or foundation for what he wanted to further express. I myself have seen such energetic
made underpaintings, filled with densely saturated
with a brush or in a pure red tone, which was called
outline a semitone, or whitewash. With the same brush, dipping
it now in red, then in black, then in yellow paint, he worked out the relief of the illuminated parts. with this great
skill, with the help of just four colors caused
he was the promise of a beautiful figure from oblivion ... He then covered these skeletons, representing a kind of extract from all the most essential, with a living body, finalizing it through a series of repeated strokes to such a state that it seemed he lacked only breath ... He directed the last retouches with light strokes fingers, smoothing transitions from the brightest highlights to midtones
and rubbing one tone into another. Sometimes with the same finger he applied a thick shadow to some corner to strengthen this place, or he glazed in a red tone, as if in drops.
blood, to revitalize the picturesque surface ... Towards the end
he truly wrote more with his fingers than with a brush.”

Late Titian. Where to look

Escorial, Monastery of San Lorenzo
Martyrdom of Saint Lawrence. 1567
Rome, Galleria Borghese
Venus blindfolding Cupid. OK. 1565
St. Petersburg, Hermitage
Penitent Mary Magdalene. OK. 1565
Saint Sebastian. 1575
Madrid, Prado
Carrying the cross. 1570-1575
Spain comes to the aid of Religion. OK. 1575
Vienna, Kunsthistorisches Museum
Portrait of Jacopo Strada. 1567-1568
Shepherd and nymph. 1575-1576
London, National Gallery
Madonna and Child. 1565-1570

Munich, Alte Pinakothek
Crowning with a crown of thorns. 1570-1575
St. Louis Art Museum
Desecration of Christ. 1570-1575
Cambridge, Fitzwilliam Museum
Tarquinius and Lucretia. 1571
Rotterdam, Museum Boijmans van Beiningen
Child with dogs. 1575-1576
Kromeriz, Art gallery
Marcia's punishment. 1575-1576
Venice, Accademia Gallery
Lamentation for Christ. 1576