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Titian in the End: From Wholesome Flesh to Disintegrating Skin

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A musing on Titian's "Flaying of Marsyas" painting, left in his studio at the end of his life (1576), entering the art historical record in the early 20th century.

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Titian in the End: From Wholesome Flesh to Disintegrating Skin

  1. 1. Titian In the End From Wholesome Flesh To Disintegrating Skin © Deborah Feller December 12, 2017
  2. 2. How many artists does it take to complete a painting?
  3. 3. How many artists does it take to complete a painting? 6
  4. 4. How many artists does it take to complete a painting? 6 1 to do the painting
  5. 5. How many artists does it take to complete a painting? 6 1 to do the painting & 5 to drag her away from the canvas when it's finished.
  6. 6. Figure 1: The Flaying of Marsyas (before 1576, oil on canvas, 86.6 x 80.3 in. [220 x 204 cm]). Archbishop's Palace, Kroměříž, Czech Republic.
  7. 7. Figure 1: The Flaying of Marsyas (before 1576). Figure 3: Venus of Urbino (1538, oil on canvas, 46.85 x 65 in. [119 x 165 cm]). Galleria degli Uffizi, Florence. Figure 2: Nymph and Shepherd (early 1570s, oil on canvas, 59 x 73.6 in. [149.7 x 187 cm]). Kunsthistorisches Museum, Vienna, Austria.
  8. 8. Figure 1: The Flaying of Marsyas (before 1576).
  9. 9. Figure 1: The Flaying of Marsyas (before 1576). ‘No! no! He screamed, ’Why tear me from myself? Oh, I repent! A pipe’s not worth the price!’ and as he screamed Apollo stripped his skin; the whole of him Was one huge wound, blood streaming everywhere, Sinews laid bare, veins naked, quivering And pulsing. You could count his twitching guts, And the tissues as the light shone through his ribs...”
  10. 10. Figure 1: The Flaying of Marsyas (before 1576).
  11. 11. Figure 1: The Flaying of Marsyas (before 1576).
  12. 12. Figure 1: The Flaying of Marsyas (before 1576). Figure 4: The Flaying of Marsyas, detail, blood dripping.
  13. 13. Figure 5: Compositional analysis of The Flaying of Marsyas.
  14. 14. Figure 7: Anonymous, after Titian's Flaying of Marsyas. Private collection. Figure 6: Flaying of Marsyas, X-ray of upper left part of Kroměříž painting with sketch of lyrist in red. From Sylvia Ferino- Pagden, Late Titian and the Sensuality of Painting, 235.
  15. 15. Figure 9: Attributed to Pothos Painter, Apollo and Marsyas Compete (ca. 430- 410 BCE, attic red figure krator). British Museum. Figure 8: Apollo and Marsyas, (ca. 290–300, panel of a sarcophagus). Paris, Louvre Museum. Figure 10: White Marsyas or Marsia Appeso (hanging) (200- 100 BCE, Roman copy of Greek original). Florence, Uffizi Gallery.
  16. 16. Figure 11: Giulio Romano, Apollo Flaying Marsyas (1527, pen, ink and wash over chalk, 19.8 x 26.1 in. [50.2 x 66.3 cm]). Design for a detail of the frieze in the Sala di Ovidio, Palazzo del Te. Louvre, Paris.
  17. 17. Figure 12: Agostino da Mozzanega and Anselmo de Ganis, after a design by Giulio Romano, Apollo Flaying Marsyas (1527, fresco). Sala di Ovidio, Palazzo del Te, Mantua.
  18. 18. Figure 13: Raffaello Sanzio da Urbino (Raphael) and assistant, Apollo Ordering the Flaying of Marsyas (1510-11, fresco). Stanza della Segnatura, Vatican.
  19. 19. Figure 15: Giulio Romano, Apollo Flaying Marsyas, detail. Figure 14: Raffaello Sanzio da Urbino (Raphael) and assistant, Apollo Ordering the Flaying of Marsyas, detail, inverted view.
  20. 20. Figure 16: Girolamo Francesco Maria Mazzola (Parmigianino), Apollo Overseeing the Flaying of Marsyas (ca. 1527-30, red chalk, partly outlined in pen and ink). Uffizi Gallery, Florence. Figure 18: Andrea Meldolla (Andrea Schiavone) after a lost drawing by Parmigianino, Apollo Overseeing the Flaying of Marsyas, (mid-16th century, point of brush, wash, over chalk, with heightening, cropped at left). Royal Library, Windsor, England. Figure 17: Antonio Fantuzzi after Parmigianino, Apollo Overseeing the Flaying of Marsyas (ca. 1545, etching). Bibliotèque Nationale, Paris.
  21. 21. Figure 1: The Flaying of Marsyas (before 1576). Figure 11: Giulio Romano, Apollo Flaying Marsyas (1527).
  22. 22. Figure 19: Giulio Romano, Apollo Flaying Marsyas, detail, reverted Marsyas head. Figure 20: The Flayin of Marsyas, detail, reverted Marsyas hea
  23. 23. Figure 1: The Flaying of Marsyas (before 1576). Figure 11: Giulio Romano, Apollo Flaying Marsyas (1527).
  24. 24. Figure 1: The Flaying of Marsyas (before 1576). Figure 21: The Flaying of Marsyas, detail, Phrygian flayer's hand with knife.
  25. 25. Figure 1: The Flaying of Marsyas (before 1576).
  26. 26. Figure 1: The Flaying of Marsyas (before 1576). Figure 22:The Flaying of Marsyas, detail, head of Midas.
  27. 27. Figure 24: Albrecht Dürer, Melancolia I (1514, engraving, 9.5 x 7.3 in.[24 × 18.5 cm]). The Metropolitan Museum of Art, New York. Figure 23: The Flaying of Marsyas, detail, Midas.
  28. 28. Figure 25: The Flaying of Marsyas, detail, Midas looking at Marsyas's face.
  29. 29. Figure 26: The Flaying of Marsyas, detail, Apollo, singing while he works.
  30. 30. Figure 27: Venus with Cupid, an Organist and a Dog (ca. 1550, oil on canvas, 45.3 x 82.7 in. [115 x 210 cm]). Staatliche Museen, Gemäldegalerie, Berlin.
  31. 31. Figure 28: Natura Potentior Ars, ca. 1562. Titian's Impresa. On Painter Titian Learned painters of diverse eras, Continuing into our own time, Designs and images have shown How art jousts with nature. Gathered at the glorious peak, They are deemed heavenly prodigies, But TITIAN, by the grace of divine fortune, Has bested art, genius and nature.
  32. 32. Figure 1: The Flaying of Marsyas (before 1576, oil on canvas, 86.6 x 80.3 in. [220 x 204 cm]). Archbishop's Palace, Kroměříž, Czech Republic. Figure 29: Self-Portrait (oil on canvas, ca. 1567- 68, 33.9 x 27.2 in. [86 x 69 cm]). Museo del Prado, Madrid.

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