Titian, Christ Crowned with Thorns발음듣기
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Titian, Christ Crowned with Thorns
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(piano playing) [Dr. Steven Zucker] By the time Titian painted Christ Crowned with Thorns, he was towards the end of his very long career.발음듣기
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He was the greatest artist of the Venetian Renaissance and he was applying paint in a way that artists had never done before.발음듣기
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[Dr. Beth Harris] And you could imagine after decades of painting that you have a familiarity and an intimacy with your materials.발음듣기
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[Beth] We see torches in the upper right and you can see the thickness of the white and gold paint, gives us a sense of flickering light and of the chaos of this moment.발음듣기
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This is not the static Renaissance any longer and there's a dynamism and power that is really at odds with the way in which we think about the Renaissance.발음듣기
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[Beth] It's almost proto baroque, meaning that it looks toward the baroque and it's interest in movement and also in the way that everything is taking place very close to us and seems to move out into our space.발음듣기
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[Steven] The drama is something that I associate with a baroque and he is achieving that, not only by the use of diagonals, not only by the activation and the violence that's being rendered, but also by the really stark contrast between light and dark.발음듣기
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[Beth] It's funny that you use the word violence because to me, this painting isn't all that violent.발음듣기
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We know that we're looking at Christ having the crown of thorns, this painful thing put on his head.발음듣기
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[Steven] Right, this is the passion, that is the events at the end of Christs life that culminate in the crucifixion.발음듣기
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[Beth] Right, these moments of Christ's terrible suffering, but I don't see Titian focusing on the blood and gore of the event like someone like Rubens will do.발음듣기
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Even for all the activity, there's also a kind of static quality, at least in that central figure.발음듣기
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A figure in the back right really is plunging that stick and there is a real sense of violence and yet the stick is not actually catching the thorns, it's not actually catching Christs head.발음듣기
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He couldn't be rendered in a more brutish way and yet he's elegantly up on the balls of his feet, his knees are bent, there is a balance and lightness that is really at odds with what he's meant to represent.발음듣기
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[Beth] Well, look at that figure in the lower right who strides up these stairs with a stick in one hand and an ax in the other, but his arm curls up, his head leans to the right.발음듣기
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This is a position that looks more like choreography than actual movement and these are all characteristics that remind us of mannerism and this is 1570.발음듣기
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After all, mannerism begins in the 1520's, 1530's, 1540's, right at the time of the reformation.발음듣기
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This is a time of real spiritual upheaval in Europe and perhaps we're seeing that reflected here.발음듣기
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Not only has Titian embedded everything in darkness and the shallow space, but for example, we can't read the right leg of that standing figure on the left or similarly the right leg of the figure who's striding up from the lower right.발음듣기
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[Steven] When you look at a painting like this you can see the tremendous impact that this artist had on later painters.발음듣기
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All these artists are looking back to Titian and this extraordinary achievement, in a sense, the freedom that Titian is allowing for generations of artists.발음듣기
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Freeing them from the strictures of balance and harmony and clarity that had been hallmarks of the Renaissance.발음듣기
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