Access

You are not currently logged in.

Access JSTOR through your library or other institution:

login

Log in through your institution.

If You Use a Screen Reader

This content is available through Read Online (Free) program, which relies on page scans. Since scans are not currently available to screen readers, please contact JSTOR User Support for access. We'll provide a PDF copy for your screen reader.

A Portrait by Titian of Girolamo Cornaro

Paul Joannides
Artibus et Historiae
Vol. 34, No. 67, Papers dedicated to Peter Humfrey: part I (2013), pp. 239-249
Published by: IRSA s.c.
Stable URL: http://www.jstor.org/stable/23510253
Page Count: 11
  • Read Online (Free)
  • Download ($19.00)
  • Subscribe ($19.50)
  • Cite this Item
Since scans are not currently available to screen readers, please contact JSTOR User Support for access. We'll provide a PDF copy for your screen reader.
Preview not available
Preview not available

Abstract

This article publishes an early male portrait by Titian, previously known only from an old copy at Petworth, which came to light recently and rapidly acquired the nickname the Commander. The author seeks to place the Commander in relation to other male portraits painted by Titian during the second decade of the sixteenth century, considering in particular its colouristic and textural relations with the Man with the Blue Sleeve. Given that the sitter looks firmly out of frame, he suggests that a pendant may have been planned, and speculates that this might have been the Knight of Malta in the Uffizi, as two 'comradeship portraits'. Noting the sitter's resemblance to the central figure in a triple portrait from the circle of Titian in Washington, the author identifies him as Girolamo Cornaro and based on this, and on an X-ray image that shows changes to the subject's dress, hypothesises that Titian started the portrait soon after Girolamo's marriage in 1510, showing him in a relaxed dress, but modified the costume and added a sword to register Cornaro's call to military duties during the Wars of the League of Cambrai. He concludes that a more likely intended pendant would have been Cornaro's wife, whether or not a portrait of her was ever executed. An appendix discusses the status and date of the Petworth copy.

Page Thumbnails

  • Thumbnail: Page 
[239]
    [239]
  • Thumbnail: Page 
240
    240
  • Thumbnail: Page 
241
    241
  • Thumbnail: Page 
242
    242
  • Thumbnail: Page 
243
    243
  • Thumbnail: Page 
244
    244
  • Thumbnail: Page 
245
    245
  • Thumbnail: Page 
246
    246
  • Thumbnail: Page 
247
    247
  • Thumbnail: Page 
248
    248
  • Thumbnail: Page 
249
    249