All About Self-portrait by Titian

Title of Artwork: “Self-portrait”

Artwork by Titian

Year Created 1550 – 1562

Summary of Self-portrait

Titian’s oil on canvas self-portrait titled “Self-Portrait” dates to sometime between 1546 and 1557.

This is one of only two surviving paintings of his self-portrait, however he is known to have created a number of such works in different media.

The other one may be found in Madrid, and it dates back to around 1560. They both use a muted colour scheme, but this one has more tonal variety and is better balanced than the other.

All About Self-portrait

Roughly sketched sections of his garment and his left hand are all that remain unfinished. Some have hypothesised that the painting on canvas is a preparatory sketch for a longer, more elaborate piece that has since disappeared. Perhaps it was painted after his death as a memorial for his loved ones.

In both subject matter and technique, the piece echoes his Portrait of Pietro Aretino from 1545. There are numerous iterations, some created by the artist himself (like drawings) and others by his studio (like paintings).

The hands, the shadowed area surrounding his face, and the draperies are all areas of the canvas that need more work. Some art historians believe its long stay in Titian’s Biri Grande, Venice, workshop is proof that he meant it as a study, albeit this may be due to the fact that it was never completed.

As it was not sold during Titian’s lifetime, it is believed to be one of the several self-portraits the Italian painter, architect, and writer Giorgio Vasari mentioned in 1568.

Contrary to Vasari’s dating of the portrait to around 1562–64, this piece is quite similar to a record of a portrait presented to Paolo Giovio in 1549.

The thick and uneven application of white paint in huge portions harkens back to Titian’s work from around 1560 in style. The fact that he looks about 60 lends validity to the earlier age estimate.

He is adorned with the triple-wrapped golden chain of the Order of the Golden Spur, which was bestowed to him by Emperor Charles V in 1533.

His newfound knighthood and high social standing are symbolised by the chain. Both paintings feature him with a black cap, a common theme in his later works.

The design’s backstory is a mystery, but it was likely chosen to associate him with scholars like Aristotle and St. Jerome, who both wore similar hats. He may have been trying to hide a bald area, which is another possibility.

Titian is shown seated at a table, with his back to the viewer, in a three-quarters profile view, gazing off into the distance.

Although his attitude is convoluted and difficult to decipher, it can be seen as more forward-looking and optimistic than in the 1567 Madrid self-portrait; several art historians have pointed out the ageing and physical degeneration he had endured by the time of the latter piece.

All of his self-portraits are of him looking away from the observer, perhaps out of modesty but always in a dignified stance. He is depicted with broad shoulders and an attentive stare, giving off an impression of “combativeness,” “disquietude,” and “misgiving,” according to others.

Information Citations:

En.wikipedia.org, https://en.wikipedia.org/.

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