A series of lectures
The Palazzo delle Esposizioni will once again be hosting, every Wednesday for five weeks, its highly popular series of lectures designed to allow visitors to explore the major artistic and cultural issues addressed in the Scuderie del Quirinale's spectacular art exhibitions. Some of the country's most authoritative art historians will be offering visitors the opportunity to get to know the figure of Titian from a variety of different angles, along with his works and the meaning and role of his art in the context of its time and in an Italian and European setting.
Palazzo delle Esposizioni - Sala Cinema
Admission via steps in via Milano 9a, Rome
ADMISSION FREE WHILE PLACES LAST
Reservations may be made by PdE and SdQ membership card holders only
The Ageing Titian's Endless Painting (1555-1575) - lectures
Titian was a painter who reflected on topical issues and problems ranging from literature and politics to religion and who was prepared to break away from Venice and from the last Italian "signorie" in order to take on the risk of a European career. A painter experimenting down to his very last breath, he sought to develop a basic artistic vocabulary that did not yet exist, in fact that had not even been dreamt of, in an effort to remain consistent with his own philosophy and to impart narrative dignity to his last works, his last poems in paint. The ageing Titian was man treading a radically independent path in the history of ideas.
An Interpretation of Titian's Younger Years - lectures
The date of Titian's birth is a problem which continues to vex art historians. Discovering the actual date would crucially allow us to set the figure of Titian in the complex artistic context of his day and to gain a more perfect understanding of his role and importance in respect of the salient events of an era in which time flew rapidly past and in which his colleagues in the sphere of painting were such giants as Giovanni Bellini, Giorgione, Sebastiano del Piombo and Lorenzo Lotto.
Titian Between the 1530s and 1550s: Success in Italy and in Europe - lectures
The key to Titian's revolution is his devising of a new painterly form capable of communicating to the observer the idea of a presence in his pictures which is neither a simple humdrum everyday presence, nor the mere display of his artistic skills, but which is itself the powerful spirit imbuing the sentiment of life into the painted image.
"Titian's Holding the Flag..." - lectures
That is what Marco Boschin wrote, in his poetic chauvinism, and it is true: Italy's great figurative civilisation was largely, and crucially, Venetian. Thus after its retrospectives devoted to Antonello da Messina, to Giovanni Bellini, to Lorenzo Lotto and, before them, to Dürer and his rapport with Italy, the Scuderie del Quirinale could not fail to host a major exhibition on Titian.
Notes for an Exhibition - lectures
Giovanni C. F. Villa
Titian, one of the masters of the great season of Venetian 16th century art, indifferent to passing fads and bent above all on communicating the emotional truth of his works, survived through fully two-thirds of a century without ever falling short of his extremely lofty painterly quality; and this, despite several radical changes, as he moved from the monumental classicism of his early work, through the brilliant colour contrasts of his portrait painting, to the pictures that he produced in his final years, which were imbued with strong spirituality and distinct sense of the theatrical.
Titian and His Times - lectures
Titian was not just one of the greatest masters in the field of painting, he was also a leading player in the cultural metamorphosis of his times, rising in the course of his spectacular career from being a young mountain lad from Cadore to holding the post of first painter to the imperial court.
Portrait of a Jewel: Titian and Eleonora Gonzaga della Rovere - lectures
The measure of Titian's greatness lies also in his "portraits" of objects such as clothing, armour and jewels, which are no less lifelike than his portraits of people. One of the most impressive such "portraits" in terms of its rendering of colour and form is the extraordinary sumptuary item known as the "sghiratto", or muskrat, so proudly displayed by Eleonora della Rovere in the masterpiece from the Uffizi on show in the exhibition. Rigon will be using a set of extremely recent discoveries to reconstruct its history, so pregnant with symbolism, both as an invention of the great Eleonora d'Este and as an emblem of the "modesty" to which ladies of high rank and exalted lineage were expected to aspire.