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Meerminnen in de kunst --- Mermaids in art --- Monstres marins dans l'art --- Sea monsters in art --- Sirènes dans l'art --- Zeemeerminnen in de kunst --- Zeemonsters in de kunst --- Art, Renaissance --- Sea monsters in art. --- Mermaids in art. --- Art de la Renaissance --- Themes, motives. --- Thèmes, motifs --- Sirènes dans l'art --- Thèmes, motifs --- Art [Renaissance ] --- Italy --- Venice (Italy) --- Themes, motives

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Papacy --- Renaissance --- Papauté --- History --- Histoire --- Basilica di San Pietro in Vaticano --- History. --- Vatican City --- Vatican --- Buildings, structures, etc. --- Constructions --- Symbolism in architecture --- Jerusalem --- Symbolic representation --- Buildings, structures, etc --- 27 <45 ROMA> --- 262.13 "14/15" --- 72 BRAMANTE, DONATO --- Kerkgeschiedenis--Italië--ROMA --- Pausschap. Heilige Stoel. Vaticaan. Paus als soeverein--?"14/15" --- Architectuur. Bouwkunst--BRAMANTE, DONATO --- 72 BRAMANTE, DONATO Architectuur. Bouwkunst--BRAMANTE, DONATO --- 262.13 "14/15" Pausschap. Heilige Stoel. Vaticaan. Paus als soeverein--?"14/15" --- Papauté --- Catholic church buildings --- Architectural symbolism --- Signs and symbols in architecture --- Architecture --- Revival of letters --- Civilization --- History, Modern --- Civilization, Medieval --- Civilization, Modern --- Humanism --- Middle Ages --- San Pietro in Vaticano (Basilica) --- Basilica vaticana --- Saint Peter's Cathedral (Vatican City) --- Vatican City. --- S. Pietro in Vaticano (Basilica) --- St. Peter's (Basilica : Vatican City) --- Basilique de Saint-Pierre (Vatican City) --- Basilica Sancti Petri (Vatican City) --- Sanctus Petrus (Basilica : Vatican City) --- Basilica papale di San Pietro in Vaticano --- City of the Vatican --- Città del Vaticano --- Vatikana --- Vatican City State --- Stato della Città del Vaticano --- Miejsce Piotrowe --- Wieczne Miasto --- Watykan --- Cité du Vatican --- Stolica Apostolska --- Civitas Vaticana --- Status Civitatis Vaticanae --- Holy See --- Holy See (Vatican City State) --- Holy See (Vatican City) --- Santa Sede --- Santa Sede (Stato della Città del Vaticano) --- Santa Sede (Città del Vaticano) --- State of the Vatican City --- Città Vaticano --- Papal States --- Ierusalim --- Yerushalayim --- Jeruzalem --- Quds --- Ūrushalīm --- Kuds --- Kouds --- Erusaghēm --- Bayt al-Maqdis --- Jeruzsálem --- Jerusalem (Israel) --- Jerusalem (Palestine) --- ʻIriyat Yerushalayim --- Ierousalēm --- Gerusalemme --- Baladīyat al-Quds --- Baladīyat al-Quds al-ʻArabīyah --- Jerusalem Arab Municipality --- Qods (Jerusalem) --- ירושלים --- القدس --- al-Quds --- قدس --- Symbolic representation. --- Architecture, Renaissance --- Reconstruction --- Italy --- Rome --- 1447-1565 --- Иерусалим --- Jerusalén --- Symbolism in architecture - Italy - Rome --- Renaissance - Italy - Rome --- Jerusalem - Symbolic representation --- Vatican City - Buildings, structures, etc

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In this fascinating study Marie Tanner examines the ways in which Titian incorporates new concepts of sensuality and spirituality in the mythological paintings for King Philip II of Spain. The paintings for Philip II, known as the Poesie, are among the most frequently discussed works of art that address a favored Renaissance theme, the influence of the pagan gods on human actions. The commission is traceable to 1549, when Emperor Charles V summoned the artist to Augsburg following Prince Philip’s triumphal parade through the empire as his father’s heir apparent. The cycle that took shape comprises Danae and Venus and Adonis (Madrid, Prado); Diana and Actaeon and Diana and Callisto (Edinburgh, National Gallery of Scotland); Perseus and Andromeda (London, Wallace Collection) and Europa (Boston, Isabella Stewart Gardner Museum). These masterpieces of the artist’s mature period can be considered the most important Renaissance grouping of mythological paintings executed by a single artist. The author proposes that Philip’s expected elevation prompted the commission and that the subjects form a cohesive program of Hapsburg ethical views and political concerns, and that Titian created new visual idioms to represent the complex issues which the subjects address in part by engaging themes with a significant prior history in family patronage. While Titian's Poesie for Philip II are well known monuments of western culture, they have never before been investigated with this focus. The dispersal of the pictures' in the seventeenth century resulted in a scholarly focus on the single pictures and a concentration on their sensual aspects. In Aretino, a Venetian dialogue on painting, Titian’s friend and apologist Lodovico Dolce is a spokesman for art that following poetry, entices through beauty, while hiding important truths beneath the veil of allegory. This study analyzes the ways in which Titian incorporates new concepts of sensuality and spirituality in a Venetian vernacular to create masterpieces whose originality and ravishing beauty belie their didactic content.

mythology [literary genre] --- easel paintings [paintings by form] --- Philip II [King of Spain] --- Titian --- Titian, --- Painting --- legendary beings --- Charles V [Holy Roman emperor] --- Allegories --- Symbolism in art --- Allegory (Art) --- Signs and symbols in art --- Art --- Exempla --- Fiction --- Homiletical illustrations --- Tales --- Fables --- Parables --- Philip --- Filips --- Felipe --- Filipe --- Philippe --- Filippe --- Philips --- Fīlīb --- Philipp --- Filippo --- Ticijan, --- Titiano Vecellio, --- Titianus, --- Titien, --- Tit︠s︡ian, --- Tizian, --- Tiziano, --- Tiziano Vecelli, --- Tycjan, --- Vecelli, Tiziano, --- Vecellio, Tiziano, --- Vechellio, Tit︠s︡iano, --- Art patronage. --- Art, Italian --- Allegories. --- Symbolism in art. --- Titiaan --- Titien --- Tizian --- di Gregorio Vecellio, Tiziano --- Sublime, the --- Titian, - approximately 1488-1576