Portrait d Isabella d Este
Portrait d Isabella d Este (Dealbh de Iseabail Este – 1534 – 1536) leis a’ pheantair Eadailteach Tiziano Vecellio (Titian 1488 – 1576); was part of the High Renaissance and Mannerism art movements; and was considered to be the most versatile of Italian painters demonstrating great skill at painting portraits, landscape backgrounds, mythological and religious subjects.
Seo dealbh d’Isabella d’Este by Titian is one of two portraits he did of her; the other portrait was commissioned in 1529 Isabella in Red (or Aged Isabella); and is known through a copy that was done by Peter Paul Rubens.
The Portrait d’Isabella d’Estedepicted; is not of the much older and mature Isabella. The original portrait displeased her so much, that she commissioned a second idealized portrait (this one) of her from Titian, showing what she may have looked like 40 years earlier (she was about 62 years of age at the time of the second painting).
She also commissioned portraits by other great artist of the time such as Leonardo da Vinci and Andrea Mantegna.
Portrait d’Isabella d’Este is a retouched digital art old masters reproduction of a public domain image.
Fiosrachadh gu h-ìosal a thàinig bho Wikipedia.org
Tiziano was the sone of Gregorio Vecellio and his wife Lucia. His father was a distinguished councilor, saighdear, and the superintendent of the castle of Pieve di Cadore; he also managed the local mines of the region for their owners.
He was born in Pieve di Cadore, near Belluno, which was at the time, the Republic of Venice; and during his lifetime was called da Cadore, which is taken from his native region; Cadore.
Chan eil fios cinnteach cuin a rugadh e, ach thagair e ann an litir gu Philip II, Rìgh na Spàinne nuair a bha e na sheann duine gu bhith air a bhreith ann 1474; ged a tha mòran sgoilearan a' deasbad seo, stèidhichte air sgrìobhaidhean bho cho-aoisean na aois fhèin; a' cur a bhreith cho tràth 1473 cho fada ri 1490.
Mòran de bhuill teaghlaich Tiziano a’ toirt a-steach a sheanair, bha iad nan notaries agus bha an teaghlach stèidhichte gu math ann an Cadore, a bha air a riaghladh le Venice; agus mu aois 10 no 12 Chaidh Tiziano agus a bhràthair a chuir gu aon de na bràithrean aige ann am Venice gus preantasachd a lorg le peantair.
Chaidh seo a choileanadh le cuideachadh bho Sebastian Zuccato, peantair beag ann am Venice, aig an robh na mic aca gu bhith nan luchd-ciùil ainmeil (Neach-ealain Mosaic). Bha Zuccato comasach air suidheachadh a chuir air dòigh dha na bràithrean a dhol a-steach do stiùidio nan seann Gentile Bellini, agus an dèidh sin ghluais iad a-null gu stiùidio a bhràthar Giovanni Bellini; cò aig an àm, B’ e prìomh neach-ealain a’ bhaile.
Bha Tiziano Vecelli ris an canar gu cumanta Titian na pheantair Eadailteach aig àm an Ath-bheothachaidh, agus tha e air a mheas mar am ball as cudromaiche de sgoil Venetian san 16mh linn; agus an dèidh sin thàinig a bhràthair gu bhith na pheantair cliùiteach ann am Venice.
Tha Tiziano air aithneachadh le a cho-aoisean mar “A’ ghrian am measg nan rionnagan beaga”; aithris a tha a’ cuimhneachadh na loidhne mu dheireadh de Dante’s Paradiso; oir bha e air aon de na peantairean Eadailteach as ioma-chruthach aig nach robh crìochan peantaidh.
Bha e a cheart cho comasach air dealbhan a pheantadh, cruthan-tìre, cuspairean cràbhach agus beul-aithris le eireachdas agus gràs gu furasta; agus na dòighean peantaidh aige gu sònraichte ann an cleachdadh dath, Bha buaidh mhòr aige air peantairean an Ath-bheothachadh Eadailteach nach maireann a bharrachd air an neach-ealain ealain an Iar san àm ri teachd.
Thathas den bheachd gur e Tiziano Vecelli còmhla ri Giorgione an fheadhainn a stèidhich Sgoil Venetian airson peantadh Ath-bheothachadh Eadailteach.; agus chaidh a chùrsa-beatha a stèidheachadh bhon toiseach oir bha mòran de luchd-taic à Venice air a shireadh gu mòr, an uairsin le prionnsachan na h-Eadailt a Tuath agus mu dheireadh leis na Habsburgs agus na Pàpachd.
Mar a dh'fhàs Tiziano na neach-ealain dh'atharraich an obair ealain a chruthaich e cuideachd; agus ged a bha e gu math eadar-dhealaichte na an obair ealain a chruthaich e na òige; cha do chleachd a dhath anns na pìosan aige.
Much of his later pieces do not show the vivid, luminous tints which were a strong point in his early works; but the loose brushwork and subtlety of tone remained and are considered to be without precedent in the history of Western painting.