Titian’s Assumption Of The Virgin: Piety In Renaissance Italy
By Venice White. Art History 107: The Renaissance: Art and the City, Semester Two 2017.
Discuss how the visual appearance (style, subject matter, technique) of the following paintings relate to its Renaissance patron, context and audience.
The celebrated Renaissance painter Tiziano Vecelli, known in English as Titian, was the creator of the powerful altarpiece named Assunta, or ‘Assumption of the Virgin’ (fig.1). From its unveiling in 1518, it continues to reside in the high altar of one of the most prominent cathedrals in the city of Venice; the Santa Maria Gloriosa dei Frari. This essay will discuss the relationship between the painting and its importance to the civic and religious identity of Renaissance Venice. The visual appearance of the Virgin Mary’s Assumption painted upon the altarpiece relates to its context and audience in that it was commissioned to be the focal point within a significant place of worship. It encouraged greater appreciation of artistic technique in that it revolutionised traditional representation of holy figures and through its subject matter, allowed further connection to religion. Its grandeur enhanced the experience of worshipping in the great cathedral itself, and represented a significant depiction of figures and narrative considered to be of the utmost importance to citizens of the republic.
Figure 1. Titian, Assumption of the Virgin, 1518, (oil in wood, 6.9m x 3.6m), Venice, Santa Maria Gloriosa dei Frari.
The glorification of the Virgin was the only subject aside from the scenes from the life of Christ that were considered appropriate for a high altar.[1] The painting itself, standing at an immense height of 600 x 360 cm, was commissioned by Germano da Caiole, prior of the Frari,[2] and depicts a theme which had increased in popularity for Franciscan Venetians throughout the previous forty years.[3] The subject matter, as can be understood from the title, is the Virgin Mary’s bodily ascent into heaven, Mary being the principle dedication of the Frari itself.[4] The altarpiece is full of motion, a new concept, and was done partially in response to the soaring height of Gothic architecture of the Frari.[5] In its time, it was the largest altarpiece painted in Venice,[6] and also dramatically different from any previous style and subject matter; executed using oil paint upon a wood backing made up of 21 boards.[7]
Titian applied the nature of the imposing setting by splitting the narrative into two stories and by painting the figures larger than life.[8] Each figure is dressed in resonant shades of red, blue and green. Despite the overall success of the painting, the patrons expressed concern towards the oversized rendering of the apostles; an argument countered by Titian in that he believed his ‘deliberate shadowing’ of the apostles, as well as their contorted arrangement, would discourage dwelling on their figures and instead encourage the eye to follow their uplifted arms and faces.[9] Their presence is important in the layering of the painting as well as within the narrative itself, however the light-filled, colourful and glorious images of the immortal figures are what truly dominate. Titian’s use of a palate rich in colour owed a great deal to the wealth of his patrons and the fact that Venice was at the centre of the pigment trade in Italy at the time.[10]
The apostles are reaching towards the beautiful, dark-haired Mary, who is dressed in a red-orange dress with a dark shawl billowing around her. Altarpieces were designed to bring their viewers closer to God by illustrating detailed and realistic depictions of biblical figures and stories. Characters were intentionally dressed in contemporary clothing (of the time). This was meant to help people connect to the stories and inspire devotion and piety.[11] The apparent movement in the folds of the fabric, finer details of her hair and the white highlights of her uplifted eyes contribute to the idea that she is rising.[12] The expression upon her face is one of humility, calm as she is ready to receive her heavenly reward.[13] She is surrounded by angels,[14] accompanying her ascent and increasing the piety of her nature and journey, as some of them support the cloud upon which she stands. This depiction of the Virgin in such a glorified manner represents a resurgence in her status in the minds of those in the 15th century, much like the fact claimed earlier in this essay that the church itself was dedicated in her honour. The Virgin Mary had a prominent position as the “intermediary between God and Man” therefore this identity made her Assumption (the bodily resurrection like Christ’s before her) an important image of religious iconography.[15]
The visual representation of Biblical figures was important to the audience of the painting, particularly prominent altarpieces such as this. Since the beginning of the Renaissance, the purpose of the religious image was to serve as a Bible for the illiterate. These sorts of images were said to instruct the unlettered, serve as a reminder towards “the mysteries of the faith” and a way to further excite devotion.[16] This method of influencing the wider population was not solely confined to the physical church buildings themselves, for requests to artists for replicas of their original compositions were made frequently throughout the Renaissance.[17] This occurred regularly throughout the life of Titian and although it is unlikely that a replica of his Assumption was made, at least of its original grandeur, these requests emphasise his popularity and influence.[18] It also demonstrates further the strong connection between the Church and Renaissance civic life, as paintings of religious iconography made their way into people’s homes or private chapels. This Assumption was commissioned at a peak in Titian’s career, his name having already been established before its creation, which potentially could have influenced the prior’s decision in selecting him to create such an influential and powerful work of art.
Figure 2. Jacopo Palma il Vecchio, Assumption of the Virgin, 1514, (Oil on Panel, 191 x 137cm), Venice, Galleria dell’Accademia.
In the midst of the golden celestial light,[19] God the Father is looking down upon Mary, flanked by two angels, one of whom is holding a crown, preparing to place it atop Mary’s head. As can be identified from earlier works of the same subject matter, such as that of other Venetian Renaissance painter Jacopo Palma (fig.2), the depiction of God is never present.[20] This was largely due to more traditional conservatism and the strict following of what was written in the Old Testament, which outlined that “any attempt to depict the unknowable; that is, the face of God” was forbidden.[21] However, those kinds of regulations were ‘rarely observed’ in Franciscan churches, hence the greater artistic freedom in the Franciscan Frari.[22] The visual representation of God would have also been a method of humbling his presence enough to appear relatable to the mortal audience, but his presence at the top of the hierarchy in such a spectacular religious image would have also ensured that his position of power was not forgotten. This evolvement from Old Testament regulations could provide understanding that both the prior who commissioned the Assumption, and Titian himself, were attempting to stray from tradition by creating an image that would demonstrate precisely who was being worshipped, and ultimately the kind of treatment one could receive having a lived a life of piety as that of Mary.
The richly saturated colours of the painting, most particularly the flowing heavens, drew the audience in towards it. This dramatic effect would have been intensified by the fact that it stands directly in front of a multi-storied screen of stained glass windows that ‘fill the apse with rich, glowing light’.[23] Simply being in its presence at particular times of the day would have felt like a religious experience, and most likely made the cathedral feel other-worldly, increasing the active connection between audience and art. It would have drawn people in from afar but due to its height, intensely packed depiction of disciples and vertical narrative, it would have been difficult for an onlooker to feel involved within the scene. Nevertheless, it would have increased reverence towards the Virgin, placed above and midway through a glorious journey to immortality in heaven. It would have strengthened worship towards her character, inspiring the audience to desire and work for the same form of interaction with God.
Our understanding towards development in style of Renaissance paintings comes from comparison, and Titian’s influence extended from creating replicas to other aspiring Renaissance artists. His dramatic creation of figures and ability practically capture movement within a scene, was the source of inspiration for renowned Renaissance artist Peter Paul Rubens, who captured his own Assumption (fig.3) in 1626.
Figure 3. Peter Paul Rubens, Assumption of the Virgin Mary, 1626 (Oil on Panel, 490 x 325cm), Antwerp, Cathedral of Our Lady.
The same sense of movement is captured through the variety of angles and posture of the many figures present. Mary is central, with her gaze heavenward and bathed in light, contrasting to the shadowed, denser figures surrounding her. The golden light of heaven is not nearly as dramatic as Titian’s but the gaze follows a vertical movement in the same manner regardless. Therefore, one can more greatly understand the power of Titian’s revolutionary technique and influence upon Rubens, who’s own depiction rivals Titian’s in its drama and visual features. This challenged what was normally understood to be an altarpiece. Other Renaissance artists were talented in their own right, however they abided by more traditionalist and conservative rules in their painting, therefore once confronted by Titian suddenly appeared dull.[24]
Titian’s altarpiece was successful in drawing viewers closer to God and can be appreciated by Renaissance and modern audiences alike, as a spectacular work of astonishing artistic ability. By entering a cathedral, the traditional belief was that one was entering the presence of God and by allowing the audience to see a visual representation of Him, would have increased the sense of security and certainty.[25] It offered Venetian audiences a dramatic and bold alternative to the “quiet and contemplative character” of traditional religious works, and furthermore allows the modern viewer to understand the religious and civic values within Renaissance Venice. [26] The stature of this painting reflects the wealth of the city and the priorities of artistic production, ultimately demonstrating the need for a connection to religion and the desire for the community of the Franciscan faith to establish a centre-point within their place of worship.
[1] M. Piotrovsky, Peter Paul Rubens: A Touch of Brilliance, (Germany, Prestel Publishing, 2004), 62.
[2] J.T Paoletti and G.M Radke, Art in Renaissance Italy (United Kingdom, Laurence King Publishing, 2011), 457.
[3] P. Joannides, Titian to 1518 (New Haven, Yale University Press, 2002), 285.
[4] Paoletti and Radke, 457.
[5] T. Nichols, Titian: And the End of the Venetian Renaissance (London, Reaktion Books, 2013), 64.
[6] C. Hope, Titian (London, National Gallery Company, 2004), 9.
[7] G. Vasari, The Lives of the Most Excellent Painters, Sculptors and Architects (Florence, Lorenzo Torrentino, 1550(1568); New York, Random House, 1550), edited by Philip Jacks, 2007, 583.
[8] Paoletti and Radke, 458.
[9] Ibid.
[10] C. Hope, Titian (London, National Gallery Company, 2004), 46.
[11] The Met, Biblical Storytelling: Illustrating a Fifteenth-Century Netherlandish Altarpiece, Video, The Met (2014, MetMedia, New York), YouTube.
[12] Paoletti and Radke, 458.
[13] Joannides, 288; Paoletti and Radke, 458.
[14] P. Meilman, The Cambridge Companion to Titian (Cambridge, Cambridge University Press, 2011), 62.
[15] E. Welch, Art in Renaissance Italy 1350 – 1500 (Oxford and New York: Oxford University Press, 2000), 149.
[16] Ibid., 137.
[17] Hope, 61.
[18] Ibid., 62.
[19] Ibid., 9.
[20] Although Titian was not officially Venetian, much of his work was commissioned and completed there, causing him to be essentially adopted by the city.
[21] Welch, 136.
[22] Ibid.
[23] Paoletti and Radke, 457.
[24] Nichols, 59.
[25] Docs Channel, History of Gothic Cathedral (full documentary) – DOCS CHANNEL, Video, World Geographic Channel, (2015, World Geographic Channel), YouTube.
[26] Paoletti and Radke, 457.
Bibliography:
Docs Channel, History of Gothic Cathedral (full documentary) – DOCS CHANNEL, Video, World Geographic Channel, (2015, World Geographic Channel), YouTube. https://www.youtube.com/watch?v=2bShPwSH_U4
Hope, C. Titian, London: National Gallery Company, 2004.
Humfrey, P. The Altarpiece in Renaissance Venice. London: Yale University Press, 1993.
Joannides, P. Titian to 1518. New Haven: Yale University Press, 2002.
Meilman, P. The Cambridge Companion to Titian. Cambridge: Cambridge University Press, 2011.
The Met, Biblical Storytelling: Illustrating a Fifteenth-Century Netherlandish Altarpiece, Video, The Met (2014, MetMedia, New York), YouTube. https://www.youtube.com/watch?v=Gv0ktIlAajE
Nichols, T. Titian: And the End of the Venetian Renaissance. London: Reaktion Books, 2013.
Paoletti, J.T., and G.M Radke. Art in Renaissance Italy. United Kingdom: Laurence King Publishing, 2011.
Piotrovsky, M. Peter Paul Rubens: A Touch of Brilliance. Germany: Prestel Publishing, 2004.
Vasari, G. The Lives of the Most Excellent Painters, Sculptors and Architects. Translated by Gaston du C. du Vere. Florence: Lorenzo Torrentino, 1550 (1568). Reprinted with introduction and notes by Phillip Jacks. New York: Random House, 2007.
Welche, E. Art in Renaissance Italy 1350 – 1500. Oxford and New York: Oxford University Press, 2000.
About the Author:
Venice White is a third year student studying a Bachelor of Arts in English and Art History.
