Titian's Women (New Haven and London: Yale University Press, 1997), pp. cat. "Von der italienischen Ausstellung in London." 38-39, ill. Italian Art From the 13th Century to the 17th Century, exh. The exact image of reality is combined with the transmission of her eternal movement, with her vivid imagery-emotional characteristics. 30-31.
La peinture vénitienne, exh. (Florence: G. C. Sansoni Editore, 1969), vol. The text on this page is licensed under a, All Getty Research Institute Publications, Conservation Perspectives, The GCI Newsletter, GCI Reference Collection (for materials analysis), Research Assistance at GCI Information Center, Links to Cultural Heritage Policy Documents, Charles Anderson-Pelham, 1st earl of Yarborough, Charles Anderson Worsley Anderson-Pelham, 2nd earl of Yarborough, Charles Anderson-Pelham, 3rd earl of Yarborough, Charles Alfred Worsley Pelham, 4th earl of Yarborough, Creative Commons Attribution 4.0 International License, International Image Interoperability Framework (IIIF), British Institution for Promoting the Fine Arts in the United Kingdom (London), June to June 1850, Palais des beaux-arts (Brussels), October 16, 1953 to January 10, 1954, North Carolina Museum of Art (Raleigh), April 6 to May 17, 1959, Nationalmuseum (Stockholm), October 20, 1962 to February 10, 1963, Philbrook Museum of Art (Tulsa), October 28, 1979 to January 27, 1980, The J. Paul Getty Museum at the Getty Center (Los Angeles), October 4, 2005 to February 5, 2006. 106. The size of the picture is 119 x 98 cm, canvas, oil. cat. Rothe, Andrea. Do not miss owning this exceptional piece.
39-42, figs. brochure (Los Angeles: J. Paul Getty Museum, 2005), unpaginated, fig. (Tulsa: Philbrook Art Center, 1979), p. 77, no.
(London: Phaidon Press, 1957), vol. Gloria dell'arte: A Renaissance Perspective, exh. Fredericksen, Burton B. Catalogue of the Paintings in the J. Paul Getty Museum (Malibu: J. Paul Getty Museum, 1972), pp. 19-20, 22-23. (Naples: Richter & Co. Editori, 1928), p. 340. Penitent Mary Magdalene by Titian Vecellio, The Appearance of Christ to Mary Magdalene (Do not Touch Me) by Titian Vecellio, Love of the earth and heaven by Titian Vecellio, Introduction of Mary in the Temple by Titian Vecellio, Venus, tied Amur’s eyes by Titian Vecellio, Read Mary Magdalene by Rogier van der Weyden, Venera with organist and cupid by Titian Vecellio, Flowers in a glass vase and fruit by Jan Davids de Hem, Portrait de l’artiste Ge – Nikolay Yaroshenko, Vue de la ville idéale – Piero della Francesca, La main de Michel-Ange – Michelangelo Buonarroti, Kossa (Temps de souffrance) – Grigory Myasoedov. Mary Magdalene, Iconographic Studies from the Middle Ages to the Baroque. 187, 190, fig. 459 (provenance of 56.PA.1, different painting illustrated), no. A truly beautiful, original miniature, after Titian’s Penitent Magdalene.
Tout l'oeuvre peint de Titien (Paris: Flammarion, 1970), p. 132, no. "Titian's 'Magdalen.'" 13. The J. Paul Getty Museum Handbook of the Collections. For instance, Titian’s imitator gives the figure of the girl the same dramatic hand gesture found in Titian’s “Venus with a Mirror” (c. 1555, The National Gallery of Art, Washington, D.C. ) or, even earlier, “The Penitent Magdalene” (1531-33, Florence, Palazzo Pitti) insofar as the girl’s skyward gaze and flowing hair. 547 (September 1955), pp. 522. Tizian (Zurich and Leipzig: Orell Füssli, 1933), p. 133. 1 (Spring 2003), pp. The sacrament of Penance had important significance in Counter-Reformation spirituality, and artists frequently portrayed penitent saints as exemplars of religious fervor. The artist prepared the canvas of The Penitent Magdalen with white, instead of red, ground. (Los Angeles: J. Paul Getty Museum, 1956), pp.
Titian Magdalen 1 The Penitent Magdalene. Hall, Nicholas H. J., ed. Painting by artist Tiziano Vecellio “Penitent Mary Magdalene”. Connoisseur 136, no. cat. 2 vols.
"Italian Art in Birmingham." 62, entry by Irina Artemieva. Not on view due to temporary Getty closure, Titian (Tiziano Vecellio) (Italian, about 1487 - 1576), Verso: upper right, white rectangular 1953 exhibition label, printed in blue: “De Venetiaanse Meesters / Rijksmuseum 1953 / Kunstenaar: [written in black:] Titiaan / Titel: [written:] De Boetvaardige Magdalena / Eigenaar: [written:] Mrs. O. Gutekunst London / Nr: [written:] 118”; lower left, white rectangular 1959 exhibition label, printed in black: “N. The text on this page is licensed under a Creative Commons Attribution 4.0 International License, unless otherwise noted. Colnaghi in America: A Survey to Commemorate the First Decade of Colnaghi New York (New York: Colnaghi, 1992), p. 130. Charles Anderson-Pelham, 3rd earl of Yarborough, 1835 - 1875 (Brocklesby Park, Lincolnshire, England), by inheritance to Charles Alfred Worsley Pelham, 1875. & D. Colnaghi & Co. Ltd. / (Established 1760 ) / Experts, Valuers and Dealers / in / Paintings, Drawings, Engravings, Etchings / by the / Old and Modern Masters / […?] Jaffé, David. On the other hand, the popularity of The Magdalene as a subject is also associated with her implied sexuality. Almost emotionally, the artist paints the figure of Magdalena, her beautiful thick hair, her breathless tender breast. Help us improve our records by sharing your corrections or suggestions. the Earl of Yarborough [...] Capt. On the landscape stretching behind the Magdalene, dark shadows come in, the sky is clouded with thunderclouds, and in the dim light of the last rays of the dying day, the image of a grief-stricken person appears. In “Magdalene” the skull is a mystical symbol of the decay of the whole earthly – for Titian only an accessory imposed by the canons of the plot, so he treats him quite unceremoniously, turning it into a stand for a full book. Boston: Brill, 2012. 1st ed. But what is the result of the image created with such a picturesque power? Upon encountering one of Titian’s conceptions of the Penitent Magdalene, biographer Giorgio Vasari (1511–1574) denied such sexual undertones, and declared that the picture “profoundly stirs the emotions of all who look at it; and, moreover, although the figure Mary Magdalene is extremely lovely it moves one to thoughts of pity rather than desire.” Garlick, Kenneth. The hair does not lie, but it falls off, the chest breathes, the hand is given in motion, the folds of the dress are agitatedly swaying. So skilfully rendered. TL.59.1.78”; lower center, white rectangular Colnaghi label, printed in black: “P. Titian: Prince of Painters, exh. 149, ill. Heinemann, Fritz. 2, p. 291. London W1”, Verso: upper left in black chalk with a circle drawn around it: “7”. Oil on canvas. The environment surrounding the person, the world as a whole – is no longer that quiet background, submissive to the person we saw it before. This information is published from the Museum's collection database. ca.
Unlike his 1531 version of the same subject, Titian has covered Mary's nudity and introduced a vase, an open book and a skull as a memento mori. 1, pp. In Tiziano e Venezia: Convegno internazionale di studi, Venezia, 1976 (Vicenza: Neri Pozza Editore, 1980), p. 409n12. xiv, 125, ill. Goffen, Rona. This image is available for download, without charge, under the Getty's Open Content Program. 58 (Los Angeles: Getty Research Institute) accession no. Masterpieces of Art: In Memory of William R. Valentiner, 1880-1958, exh. Mode Erhardt, Michelle A. and Amy M. Morris. 81, 327.
Titian's Women (New Haven and London: Yale University Press, 1997), pp. cat. "Von der italienischen Ausstellung in London." 38-39, ill. Italian Art From the 13th Century to the 17th Century, exh. The exact image of reality is combined with the transmission of her eternal movement, with her vivid imagery-emotional characteristics. 30-31.
La peinture vénitienne, exh. (Florence: G. C. Sansoni Editore, 1969), vol. The text on this page is licensed under a, All Getty Research Institute Publications, Conservation Perspectives, The GCI Newsletter, GCI Reference Collection (for materials analysis), Research Assistance at GCI Information Center, Links to Cultural Heritage Policy Documents, Charles Anderson-Pelham, 1st earl of Yarborough, Charles Anderson Worsley Anderson-Pelham, 2nd earl of Yarborough, Charles Anderson-Pelham, 3rd earl of Yarborough, Charles Alfred Worsley Pelham, 4th earl of Yarborough, Creative Commons Attribution 4.0 International License, International Image Interoperability Framework (IIIF), British Institution for Promoting the Fine Arts in the United Kingdom (London), June to June 1850, Palais des beaux-arts (Brussels), October 16, 1953 to January 10, 1954, North Carolina Museum of Art (Raleigh), April 6 to May 17, 1959, Nationalmuseum (Stockholm), October 20, 1962 to February 10, 1963, Philbrook Museum of Art (Tulsa), October 28, 1979 to January 27, 1980, The J. Paul Getty Museum at the Getty Center (Los Angeles), October 4, 2005 to February 5, 2006. 106. The size of the picture is 119 x 98 cm, canvas, oil. cat. Rothe, Andrea. Do not miss owning this exceptional piece.
39-42, figs. brochure (Los Angeles: J. Paul Getty Museum, 2005), unpaginated, fig. (Tulsa: Philbrook Art Center, 1979), p. 77, no.
(London: Phaidon Press, 1957), vol. Gloria dell'arte: A Renaissance Perspective, exh. Fredericksen, Burton B. Catalogue of the Paintings in the J. Paul Getty Museum (Malibu: J. Paul Getty Museum, 1972), pp. 19-20, 22-23. (Naples: Richter & Co. Editori, 1928), p. 340. Penitent Mary Magdalene by Titian Vecellio, The Appearance of Christ to Mary Magdalene (Do not Touch Me) by Titian Vecellio, Love of the earth and heaven by Titian Vecellio, Introduction of Mary in the Temple by Titian Vecellio, Venus, tied Amur’s eyes by Titian Vecellio, Read Mary Magdalene by Rogier van der Weyden, Venera with organist and cupid by Titian Vecellio, Flowers in a glass vase and fruit by Jan Davids de Hem, Portrait de l’artiste Ge – Nikolay Yaroshenko, Vue de la ville idéale – Piero della Francesca, La main de Michel-Ange – Michelangelo Buonarroti, Kossa (Temps de souffrance) – Grigory Myasoedov. Mary Magdalene, Iconographic Studies from the Middle Ages to the Baroque. 187, 190, fig. 459 (provenance of 56.PA.1, different painting illustrated), no. A truly beautiful, original miniature, after Titian’s Penitent Magdalene.
Tout l'oeuvre peint de Titien (Paris: Flammarion, 1970), p. 132, no. "Titian's 'Magdalen.'" 13. The J. Paul Getty Museum Handbook of the Collections. For instance, Titian’s imitator gives the figure of the girl the same dramatic hand gesture found in Titian’s “Venus with a Mirror” (c. 1555, The National Gallery of Art, Washington, D.C. ) or, even earlier, “The Penitent Magdalene” (1531-33, Florence, Palazzo Pitti) insofar as the girl’s skyward gaze and flowing hair. 547 (September 1955), pp. 522. Tizian (Zurich and Leipzig: Orell Füssli, 1933), p. 133. 1 (Spring 2003), pp. The sacrament of Penance had important significance in Counter-Reformation spirituality, and artists frequently portrayed penitent saints as exemplars of religious fervor. The artist prepared the canvas of The Penitent Magdalen with white, instead of red, ground. (Los Angeles: J. Paul Getty Museum, 1956), pp.
Titian Magdalen 1 The Penitent Magdalene. Hall, Nicholas H. J., ed. Painting by artist Tiziano Vecellio “Penitent Mary Magdalene”. Connoisseur 136, no. cat. 2 vols.
"Italian Art in Birmingham." 62, entry by Irina Artemieva. Not on view due to temporary Getty closure, Titian (Tiziano Vecellio) (Italian, about 1487 - 1576), Verso: upper right, white rectangular 1953 exhibition label, printed in blue: “De Venetiaanse Meesters / Rijksmuseum 1953 / Kunstenaar: [written in black:] Titiaan / Titel: [written:] De Boetvaardige Magdalena / Eigenaar: [written:] Mrs. O. Gutekunst London / Nr: [written:] 118”; lower left, white rectangular 1959 exhibition label, printed in black: “N. The text on this page is licensed under a Creative Commons Attribution 4.0 International License, unless otherwise noted. Colnaghi in America: A Survey to Commemorate the First Decade of Colnaghi New York (New York: Colnaghi, 1992), p. 130. Charles Anderson-Pelham, 3rd earl of Yarborough, 1835 - 1875 (Brocklesby Park, Lincolnshire, England), by inheritance to Charles Alfred Worsley Pelham, 1875. & D. Colnaghi & Co. Ltd. / (Established 1760 ) / Experts, Valuers and Dealers / in / Paintings, Drawings, Engravings, Etchings / by the / Old and Modern Masters / […?] Jaffé, David. On the other hand, the popularity of The Magdalene as a subject is also associated with her implied sexuality. Almost emotionally, the artist paints the figure of Magdalena, her beautiful thick hair, her breathless tender breast. Help us improve our records by sharing your corrections or suggestions. the Earl of Yarborough [...] Capt. On the landscape stretching behind the Magdalene, dark shadows come in, the sky is clouded with thunderclouds, and in the dim light of the last rays of the dying day, the image of a grief-stricken person appears. In “Magdalene” the skull is a mystical symbol of the decay of the whole earthly – for Titian only an accessory imposed by the canons of the plot, so he treats him quite unceremoniously, turning it into a stand for a full book. Boston: Brill, 2012. 1st ed. But what is the result of the image created with such a picturesque power? Upon encountering one of Titian’s conceptions of the Penitent Magdalene, biographer Giorgio Vasari (1511–1574) denied such sexual undertones, and declared that the picture “profoundly stirs the emotions of all who look at it; and, moreover, although the figure Mary Magdalene is extremely lovely it moves one to thoughts of pity rather than desire.” Garlick, Kenneth. The hair does not lie, but it falls off, the chest breathes, the hand is given in motion, the folds of the dress are agitatedly swaying. So skilfully rendered. TL.59.1.78”; lower center, white rectangular Colnaghi label, printed in black: “P. Titian: Prince of Painters, exh. 149, ill. Heinemann, Fritz. 2, p. 291. London W1”, Verso: upper left in black chalk with a circle drawn around it: “7”. Oil on canvas. The environment surrounding the person, the world as a whole – is no longer that quiet background, submissive to the person we saw it before. This information is published from the Museum's collection database. ca.
Unlike his 1531 version of the same subject, Titian has covered Mary's nudity and introduced a vase, an open book and a skull as a memento mori. 1, pp. In Tiziano e Venezia: Convegno internazionale di studi, Venezia, 1976 (Vicenza: Neri Pozza Editore, 1980), p. 409n12. xiv, 125, ill. Goffen, Rona. This image is available for download, without charge, under the Getty's Open Content Program. 58 (Los Angeles: Getty Research Institute) accession no. Masterpieces of Art: In Memory of William R. Valentiner, 1880-1958, exh. Mode Erhardt, Michelle A. and Amy M. Morris. 81, 327.
Tiziano. (Florence: G. C. Sansoni Editore, 1969), vol.
In Tiziano, exh. The J. Paul Getty Museum Guidebook. Catalogue of Important Pictures by Old Masters, the Property of the Right Hon. cat. But he suffers.
Marcus Pelham [...] and [...] the Earl of Feversham. (London: Royal Academy, with William Clowes and Sons, 1875), p. 15, no. Pantheon 5 (January-June 1930), p. 145, ill. Mayer, August L. "The Yarborough 'Magdalen' by Titian." The Burdens of Wealth: Paul Getty and His Museum (Bloomington: Archway Publishing, 2015), pp. In this variation, the artist omits the skull which appears in other compositions, and instead depicts the Magdalene's Bible resting on a cloth-covered support.
Titian's Women (New Haven and London: Yale University Press, 1997), pp. cat. "Von der italienischen Ausstellung in London." 38-39, ill. Italian Art From the 13th Century to the 17th Century, exh. The exact image of reality is combined with the transmission of her eternal movement, with her vivid imagery-emotional characteristics. 30-31.
La peinture vénitienne, exh. (Florence: G. C. Sansoni Editore, 1969), vol. The text on this page is licensed under a, All Getty Research Institute Publications, Conservation Perspectives, The GCI Newsletter, GCI Reference Collection (for materials analysis), Research Assistance at GCI Information Center, Links to Cultural Heritage Policy Documents, Charles Anderson-Pelham, 1st earl of Yarborough, Charles Anderson Worsley Anderson-Pelham, 2nd earl of Yarborough, Charles Anderson-Pelham, 3rd earl of Yarborough, Charles Alfred Worsley Pelham, 4th earl of Yarborough, Creative Commons Attribution 4.0 International License, International Image Interoperability Framework (IIIF), British Institution for Promoting the Fine Arts in the United Kingdom (London), June to June 1850, Palais des beaux-arts (Brussels), October 16, 1953 to January 10, 1954, North Carolina Museum of Art (Raleigh), April 6 to May 17, 1959, Nationalmuseum (Stockholm), October 20, 1962 to February 10, 1963, Philbrook Museum of Art (Tulsa), October 28, 1979 to January 27, 1980, The J. Paul Getty Museum at the Getty Center (Los Angeles), October 4, 2005 to February 5, 2006. 106. The size of the picture is 119 x 98 cm, canvas, oil. cat. Rothe, Andrea. Do not miss owning this exceptional piece.
39-42, figs. brochure (Los Angeles: J. Paul Getty Museum, 2005), unpaginated, fig. (Tulsa: Philbrook Art Center, 1979), p. 77, no.
(London: Phaidon Press, 1957), vol. Gloria dell'arte: A Renaissance Perspective, exh. Fredericksen, Burton B. Catalogue of the Paintings in the J. Paul Getty Museum (Malibu: J. Paul Getty Museum, 1972), pp. 19-20, 22-23. (Naples: Richter & Co. Editori, 1928), p. 340. Penitent Mary Magdalene by Titian Vecellio, The Appearance of Christ to Mary Magdalene (Do not Touch Me) by Titian Vecellio, Love of the earth and heaven by Titian Vecellio, Introduction of Mary in the Temple by Titian Vecellio, Venus, tied Amur’s eyes by Titian Vecellio, Read Mary Magdalene by Rogier van der Weyden, Venera with organist and cupid by Titian Vecellio, Flowers in a glass vase and fruit by Jan Davids de Hem, Portrait de l’artiste Ge – Nikolay Yaroshenko, Vue de la ville idéale – Piero della Francesca, La main de Michel-Ange – Michelangelo Buonarroti, Kossa (Temps de souffrance) – Grigory Myasoedov. Mary Magdalene, Iconographic Studies from the Middle Ages to the Baroque. 187, 190, fig. 459 (provenance of 56.PA.1, different painting illustrated), no. A truly beautiful, original miniature, after Titian’s Penitent Magdalene.
Tout l'oeuvre peint de Titien (Paris: Flammarion, 1970), p. 132, no. "Titian's 'Magdalen.'" 13. The J. Paul Getty Museum Handbook of the Collections. For instance, Titian’s imitator gives the figure of the girl the same dramatic hand gesture found in Titian’s “Venus with a Mirror” (c. 1555, The National Gallery of Art, Washington, D.C. ) or, even earlier, “The Penitent Magdalene” (1531-33, Florence, Palazzo Pitti) insofar as the girl’s skyward gaze and flowing hair. 547 (September 1955), pp. 522. Tizian (Zurich and Leipzig: Orell Füssli, 1933), p. 133. 1 (Spring 2003), pp. The sacrament of Penance had important significance in Counter-Reformation spirituality, and artists frequently portrayed penitent saints as exemplars of religious fervor. The artist prepared the canvas of The Penitent Magdalen with white, instead of red, ground. (Los Angeles: J. Paul Getty Museum, 1956), pp.
Titian Magdalen 1 The Penitent Magdalene. Hall, Nicholas H. J., ed. Painting by artist Tiziano Vecellio “Penitent Mary Magdalene”. Connoisseur 136, no. cat. 2 vols.
"Italian Art in Birmingham." 62, entry by Irina Artemieva. Not on view due to temporary Getty closure, Titian (Tiziano Vecellio) (Italian, about 1487 - 1576), Verso: upper right, white rectangular 1953 exhibition label, printed in blue: “De Venetiaanse Meesters / Rijksmuseum 1953 / Kunstenaar: [written in black:] Titiaan / Titel: [written:] De Boetvaardige Magdalena / Eigenaar: [written:] Mrs. O. Gutekunst London / Nr: [written:] 118”; lower left, white rectangular 1959 exhibition label, printed in black: “N. The text on this page is licensed under a Creative Commons Attribution 4.0 International License, unless otherwise noted. Colnaghi in America: A Survey to Commemorate the First Decade of Colnaghi New York (New York: Colnaghi, 1992), p. 130. Charles Anderson-Pelham, 3rd earl of Yarborough, 1835 - 1875 (Brocklesby Park, Lincolnshire, England), by inheritance to Charles Alfred Worsley Pelham, 1875. & D. Colnaghi & Co. Ltd. / (Established 1760 ) / Experts, Valuers and Dealers / in / Paintings, Drawings, Engravings, Etchings / by the / Old and Modern Masters / […?] Jaffé, David. On the other hand, the popularity of The Magdalene as a subject is also associated with her implied sexuality. Almost emotionally, the artist paints the figure of Magdalena, her beautiful thick hair, her breathless tender breast. Help us improve our records by sharing your corrections or suggestions. the Earl of Yarborough [...] Capt. On the landscape stretching behind the Magdalene, dark shadows come in, the sky is clouded with thunderclouds, and in the dim light of the last rays of the dying day, the image of a grief-stricken person appears. In “Magdalene” the skull is a mystical symbol of the decay of the whole earthly – for Titian only an accessory imposed by the canons of the plot, so he treats him quite unceremoniously, turning it into a stand for a full book. Boston: Brill, 2012. 1st ed. But what is the result of the image created with such a picturesque power? Upon encountering one of Titian’s conceptions of the Penitent Magdalene, biographer Giorgio Vasari (1511–1574) denied such sexual undertones, and declared that the picture “profoundly stirs the emotions of all who look at it; and, moreover, although the figure Mary Magdalene is extremely lovely it moves one to thoughts of pity rather than desire.” Garlick, Kenneth. The hair does not lie, but it falls off, the chest breathes, the hand is given in motion, the folds of the dress are agitatedly swaying. So skilfully rendered. TL.59.1.78”; lower center, white rectangular Colnaghi label, printed in black: “P. Titian: Prince of Painters, exh. 149, ill. Heinemann, Fritz. 2, p. 291. London W1”, Verso: upper left in black chalk with a circle drawn around it: “7”. Oil on canvas. The environment surrounding the person, the world as a whole – is no longer that quiet background, submissive to the person we saw it before. This information is published from the Museum's collection database. ca.
Unlike his 1531 version of the same subject, Titian has covered Mary's nudity and introduced a vase, an open book and a skull as a memento mori. 1, pp. In Tiziano e Venezia: Convegno internazionale di studi, Venezia, 1976 (Vicenza: Neri Pozza Editore, 1980), p. 409n12. xiv, 125, ill. Goffen, Rona. This image is available for download, without charge, under the Getty's Open Content Program. 58 (Los Angeles: Getty Research Institute) accession no. Masterpieces of Art: In Memory of William R. Valentiner, 1880-1958, exh. Mode Erhardt, Michelle A. and Amy M. Morris. 81, 327.