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Assunta: Assumption Of The Virgin Mary

Painting, 1518, 690×360 cm

Description of the artwork «Assunta: Assumption Of The Virgin Mary»

"Our Lady Of The Assumption (The Ascension Of Our Lady)" – a Grand altar piece with a height of about seven and a width of about three and a half meters, made by Titian for the Venetian Church of Santa Maria dei Frari 1516-1518 in years. After the execution of the "Assunta" (assunta – it. ascended) Titian was recognized as the first painter of the Venetian Republic.

"Our lady of the assumption (the Ascension of our lady)": history of creation

A huge altar was ordered Tiziano father Germano, rector of the Church of the Frari in the year of the victory of the Venetian Republic of St. Mark over the hordes of the Emperor Maximilian. In 1509, the Germans occupied all the continental possessions of Venice, and only in 1516 year, the Republic was able to bring them all under his control, freeing the last of the occupied by the Germans cities – Verona.

It is known that Titian did not really want to undertake this work, and the advance for her was handed to him by the Church almost by force. Held in the twentieth century, the radiological analysis showed that the paint layer of the painting is very fine: probably the father of Geromino was so stingy that Tiziano, which is usually written in a sweeping and generous brush strokes, in this case, had to save even on colorful pigments.

The festivities on the occasion of the consecration of the "Assunta" chroniclers of Venice highlighting the most solemn event in the life of the city in the XVI century. In a magnificent and joyous image of our lady, aspiring to the sky, saw the personification of Venice, defeated the Germans with jubilation and celebrating their triumph.

Artistic and compositional features of the painting by Titian "Assunta (the Ascension of our lady)"

The composite picture is divided into three tiers: the lower (earth), medium (climbing space) and the upper (heavenly). As the distance from the earth changes colors, the background of gray-beige becomes gold. In a stunning painting dominated by the gradation of brown, green, red and Golden colors.

In the lower part of the huddled apostles, whose nearly three-meter figures in his great excitement. They built to the sky eyes expressed sorrow, almost despair of parting with the blessed Virgin, and raised their hands to heaven – emotional protest. Extremely sharp the intensity of the feelings transmitted by Titian in the figures of the apostles, was so new to painting that shocked many of his contemporaries: some have argued that instead of the Holy apostles, the artist has depicted "quarreling conspirators".

In the middle of the picture the virgin Mary, accompanied by many of the cherubim soars to his Heavenly Father. It is full of genuine greatness, joyful solemnity and does not like a timid and meek Madonnas, Titian written earlier. God the Father with two angels crowning the top, "heavenly," tier "Assunta".

The value of the "Assunta" in the context of Venetian and Roman art of the Renaissance

"Ascension of the virgin" is not just one of the peaks and creativity Titian. "Assunta" - truly a new word in Venetian painting, had never been raised to such heights of heroic pathos and civil sound: creative work Carpacciobrothers Bellini and, in particular, Giorgione wore a much more intimate character. For the first time in easel painting Titian gives a similar sample of heroic style with a monumental enlargement of forms, comparable only with by Michelangelo's frescoes for the Sistine chapel.

Author: Anna Yesterday
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About the artwork

Art form: Painting

Subject and objects: Religious scene

Style of art: Renaissance

Technique: Oil

Materials: Wood

Date of creation: 1518

Size: 690×360 cm

Artwork in selections: 38 selections