The National Gallery’s Titian is a һіѕtoгісаɩ monument, but its mythological paintings are also brimming with forbidden, sensual pleasures.
The profound emotional turmoil captured in Titian’s ‘Poesie’ is a testament to the artist’s masterful brushwork and vibrant color palette. Commissioned by Philip II of Spain, the architect of the Armada, Titian meticulously painted these works between 1551 and 1562, creating three carefully considered pairings.
The first pair unfolds the tale of Jupiter’s predatory lust for a human princess, Danae, juxtaposed against that of a goddess made vulnerable by her passionate desire for a mortal man, Venus, and Adonis. The two canvases portraying Diana are group compositions illustrating the goddess of chastity stirred to fury by separate involuntary breaches of her divine protocols: the hunter Actaeon stumbles upon Diana bathing, while her supposedly virginal attendant, Callisto, is revealed as pregnant after Jupiter tricked and seduced her. The final two paintings were conceived as eroticized action scenes against seascapes: heroic Perseus rescuing Andromeda, contrasted with a shameful Jupiter-turned-bull abducting the flailing Europa.
This emotional journey, heightened by Titian’s dynamic brushwork and dazzling color, is a hallmark of all the ‘Poesie.’ Each canvas is a carefully deliberated pairing, a visual symphony that unravels narratives of desire, betrayal, and heroism. Titian, with unrivaled skill, brings to life the intricate stories commissioned by Philip II, encapsulating the essence of the gods’ emotional turmoil in vivid and timeless artistry.
These scandalously sexy images, collectively forming an immersive private fantasia, were once the exclusive domain of the wealthiest and most powerful patrons. In this Renaissance version of virtual reality, the central focus was the female nude, artfully depicted from diverse and provocative angles. It’s no small wonder that Philip II eventually arranged for the six paintings to hang in a private room, a secluded space where His Majesty could retire after lunch and indulge in these tantalizing visual narratives.
For the first time in over three centuries, these masterpieces are set to be reunited in the National Gallery’s groundbreaking exhibition, “Titian: Love, Desire, and Death.” The anticipation surrounding this event is palpable, with one art-loving enthusiast expressing that she “wept with joy” at the news, affectionately dubbing the exhibition “Titian Assemble.”
This unique showcase promises to unravel the intricate layers of love, desire, and mortality woven into Titian’s creations. The immersive experience invites contemporary audiences to step into the shoes of those privileged few who once commanded this Renaissance virtual reality, offering a glimpse into a world where art transcends time, scandalously revealing the intimate revelations of the human experience.
The influence of Titian’s ‘Poesie’ in Western art is nothing short of meteoric, leaving an indelible mark on European public galleries. Celebrated, copied, and adapted, these masterpieces have captivated the imaginations of artists throughout history. From Rubens and Van Dyck to Velázquez and the Pre-Raphaelites, the allure of Titian’s creations has transcended time and borders.
In a departure from earlier Renaissance works, where approaching the canvas reveals intricate details, Titian’s ‘Poesie’ is designed to be most spectacular from a distance. His “colpo di pennello” technique, likened to the movement of a blow rather than a stroke, resolves itself into light, action, and spectacle. Particularly evident in the final two canvases, Titian’s rendering of sea and air creates an almost vaporous effect. Giorgio Vasari, Titian’s contemporary, warned of the difficulty in mimicking this technique, emphasizing the meticulous effort behind the seemingly effortless strokes.
Set just before climactic turning points, each of the six ‘Poesie’ captures moments of forced seduction, dramatic transformations, and heroic ventures over the high seas. These paintings transport viewers to a heightened imaginative space, where fantastical scenarios feel plausible, inviting them to envision themselves as mortals pursued by lustful deities or punished for sexual trespasses.
Modern viewers can now experience this emotional rollercoaster firsthand, appreciating the dialogues, echoes, and tensions Titian established between canvases. Intimate scenarios, such as Venus’s desperate parting embrace of ill-fated Adonis, contrast with complex group compositions involving Diana and her nymphs. The paintings, each with its billowing expanse of fabric, create a tactile, silken thread connecting them.
Titian’s portrayal of mortal vulnerability is as pronounced as immortal vulnerability. The ‘Poesie’ inspires both lust and pity, as Titian consistently warns that desire can have dark consequences. Through these masterpieces, viewers are reminded of their fragile humanity in the vast expanse of the infinite, destined to be playthings of the gods.
A cache of letters exchanged between Titian and Philip II unveils the meticulous considerations the painter gave to every juxtaposition within his artworks. Beyond their fascinating level of obsequiousness (with Titian seemingly forever kissing Philip’s feet), the letters also shed light on the artist’s understandable concern for proper compensation. In one instance, Titian outlines the deliberate contrast he intended between the frontal nudity of Danae and the posterior view of Venus writing: “I wanted to vary [the composition] and show the other side so that the chamber where they are to be placed will be more beautiful.”
These messages not only reveal the artist’s attention to detail but also showcase the fruitful collaboration between the aging artist, then in his sixties, striving to surpass his own achievements, and the ambitious young king, whose artistic tastes were bolder than those of his father, Charles V. Philip II, known as a staunch defender of the Catholic faith, surprisingly embraced art that spoke to a more sensual and fanciful side of his soul. By borrowing from classical mythology, highly erotic artworks could be given a veneer of respectability, blending the sacred and the sensual in a sophisticated dance.
Titian’s letters, beyond being a negotiation for fair compensation, serve as a window into the dynamics of artistic collaboration and the delicate balance between satisfying a patron’s tastes and pushing artistic boundaries. The correspondence reflects the intricate dance between the seasoned artist and the young monarch, a dance that not only shaped the artworks in question but also left an indelible mark on the intersection of art, power, and sensuality during this transformative period in European history.
The journey of Titian’s ‘Poesie’ paintings is one of dispersion and subsequent reunification, a narrative that spans continents and centuries. Beginning with their dispersal from the Alcazar Palace in Madrid at the turn of the 18th century and further scattering during the tumultuous era of the French Revolution, these masterpieces found themselves scattered across the globe, with Europa herself making her way to Boston. Over time, the chances of the canvases being reunited seemed remote, given geographical challenges and issues of authentication, as Titian and his apprentices painted repeated versions of popular scenarios.
Happily, modern curatorial advancements and collaboration between galleries have achieved the near miraculous. Visitors to the National Gallery’s exhibition can now witness the ‘Poesie’ as Philip II once did: an intimate and almost overwhelming feast for the senses, where arousal becomes more poignant situated at the knife-edge of annihilation. Once the stuff of private, erotic reverie, Titian’s mastery with milky flesh and extraordinary empathy for his subjects is now accessible to all. The curiosity on a nymph’s face, the way Venus’s feet flex with sexual tension, and the comedic scene of a putto riding a fish bring joy to all who behold.
If the purpose of the arts is to transport its audience from their earthbound, quotidian existence to a more elevated realm, then few have managed that transfiguration better than Titian. The metamorphosis here applies to both viewer and subject, inviting a shared experience of awe and wonder in the presence of artistic brilliance.