Most of these pieces are now in Vienna or Madrid, including Titian's Venus with an Organ-player, Giambologna's copy of the equestrian statue of Marcus Aurelius, tapestries after cartoons by Hieronymus Bosch and a bust of Charles V by Leoni.

Full-length and equestrian portraits of rulers and generals often showed them on the battlefield, but with the action in the distant background ; a feature probably dating back to Titian's magisterial Equestrian Portrait of Charles V, which shows the emperor after his victory at the Battle of Mühlberg but with no other soldiers present.

Titian's portrait of Jacopo Sannazaro ( ca 1514-18 ) formed part of the diplomatic " Dutch Gift " to Charles II of England in 1660 ( Royal Collection )

His portraits of Charles on horseback updated the grandeur of Titian's Emperor Charles V, but even more effective and original is his portrait of Charles dismounted in the Louvre: " Charles is given a totally natural look of instinctive sovereignty, in a deliberately informal setting where he strolls so negligently that he seems at first glance nature's gentleman rather than England's King ".

Pietro Aretino, in Titian's first portrait of him

In his strictly-for-publication letters to patrons Aretino would often add a verbal portrait to Titian's painted one.

Titian's triple portrait of Pope Paul III with his grandsons, cardinal-nephew Alessandro Farnese ( left ) and Ottavio Farnese, Duke of Parma ( right )

Later that year Vesalius asked Johannes Oporinus to help publish the seven-volume De humani corporis fabrica ( On the fabric of the human body ), a groundbreaking work of human anatomy he dedicated to Charles V. Most believe it was illustrated by Titian's pupil Jan Stephen van Calcar.

In 1543, Vesalius asked Johannes Oporinus to help publish the seven-volume De humani corporis fabrica ( On the fabric of the human body ), a groundbreaking work of human anatomy he dedicated to Charles V and which most believe was illustrated by Titian's pupil Jan Stephen van Calcar, though others believe was illustrated by different artists working in the studio of Titian, and not from Van Calcar himself.

Titian's Equestrian Portrait of Charles V | Equestrian Portrait of Charles I of Spain and V of the Holy Roman Empire ( 1548 ) celebrates Charles ' victory at Mühlberg.

Titian's Equestrian Portrait of Charles V ( 1548 ) celebrates the Emperor's victory over the Protestants at the Battle of Mühlberg ( 1547 )

The most important works include Maso di Banco's Coronation of the Virgin, Sassetta's Saint Thomas Aquinas at Prayer, Domenico Ghirlandaio's Saint Stephen Martyr, Gentile Bellini's Portrait of Caterina Cornaro, Giorgione's Portrait of a Young Man, Raphael's Esterhazy Madonna, Correggio's Madonna and Child with an Angel, three works by Sebastiano del Piombo, Bronzino's Adoration of the Shepherds as well as his Venus, Cupid and Jealousy, Titian's Portrait of Doge Marcantonio Trevisani, Tintoretto's Supper at Emmaus, Tiepolo's St James the Greater in the Battle of Clavijo, Dürer's Portrait of a Young Man, Bernard van Orley's Portrait of Emperor Charles V, eight pictures by Lucas Cranach the Elder, Pieter Bruegel the Elder's St John the Baptist Preaching, Rubens's Mucius Scaevola Before Porsenna, two excellent portraits by Frans Hals, and a particularly strong collection of works by Spanish masters including El Greco, Velázquez and Goya.

But no one has been able to create a coherent sequence of Titian's early works that includes these ones, in a way that commands general support, and fits the known facts of his career.

"), Berlin Gallery, the Canon Ludovico de ' Terzi and Moroni's self-portrait ; and in the National Gallery, Washington, the seated half-figure of the Jesuit Ercole Tasso, traditionally called " Titian's Schoolmaster ", although there is no real connection with Titian.

Bonifazio de Pitati imparted upon his young pupil a lasting appreciation of Titian's work, the influence of which is clearly seen in his early pieces.

Andromeda has been the subject of numerous ancient and modern works of art, including, Andromeda Chained to the Rocks ( Rembrandt ), one of Titian's poesies ( Wallace Collection ), and compositions by Joachim Wtewael ( Louvre ), Veronese ( Rennes ), Rubens, Ingres, and Gustave Moreau.

* In Titian's Bacchus and Ariadne ( 1523 ), the god's chariot is borne by cheetahs ( which were used as hunting animals in Renaissance Italy ).

Titian's Danaë, one of innumerable paintings inspired by the Metamorphoses.

Hymnus amoris ( Hymn of Love ) ( 1897 ) is inspired by Titian's painting " The Miracle of a Jealous Husband " which Nielsen saw on his honeymoon in Italy in 1891.

Her lower torso semi-obscured by sheets, Danae appears more demure and gleeful than Titian's 1545 version of the same topic, where the rain is more accurately numismatic.

The picture is the prototype of Titian's own Venus of Urbino and of many more by other painters of the school ; but none of them attained the fame of the first exemplar.

A painting by Paolo Veronese is in the collection of the Gallerie dell ' Accademia in Venice and Titian's Allegory of the Battle of Lepanto, using the battle as a background, hangs in the Prado in Madrid.

Many relatives, including Titian's grandfather, were notaries, and the family of four were well-established in the area, which was ruled by Venice.

The sold items included Raphael's Alba Madonna, Titian's Venus with a Mirror, Botticelli's Adoration of the Magi of 1475, and Jan van Eyck's Annunciation, among other world known masterpieces by Rembrandt, Van Dyck.

Artists also began to use new techniques in the manipulation of light and darkness, such as the tone contrast evident in many of Titian's portraits and the development of sfumato and chiaroscuro by Leonardo da Vinci.

It has been argued ( by Erwin Panofsky ) that Shakespeare might have seen a copy of Titian's ' Venus and Adonis ', a painting that could be taken to show Adonis refusing to join Venus in embraces.

Other paintings of note include Titian's Sacred and Profane Love, Raphael's Entombment of Christ and works by Peter Paul Rubens and Federico Barocci.

The painting was inspired by Titian's Venus of Urbino, which in turn refers to Giorgione's Sleeping Venus.

The copies that he executed of Titian's paintings were so remarkable that one of them was seized by the Florentine authorities under the belief that it was the original.

The choice fell on Titian's painting " Christ Crowned with Thorns ", this because other works by Titian were already and constantly occupied by others, in some cases for many years.

On 15 April 1811 he was elected a royal academician ( RA ), and shortly afterwards produced a still larger enamel ( eighteen inches by sixteen ), after Titian's Bacchus and Ariadne.

Titian's Diana and Callisto ( 1559 ) portrays the moment when Callisto's pregnancy is discovered ( National Gallery of Scotland ).

The tapestry in the background is based on Titian's The Rape of Europa, or, more probably, the copy that Rubens painted in Madrid.

It is exceedingly difficult and sometimes simply impossible to differentiate Titian's early works from those of Giorgione.

The exact date of Titian's birth is uncertain ; when he was an old man he claimed in a letter to Philip II to have been born in 1474, but this seems most unlikely.

Titian's Venus with a Mirror, c. 1555, is an early example of Venus depicted at her toilet with Cupid.

In 1930-1931, the Trust made its first major acquisition, 21 paintings from the Hermitage Museum in St. Petersburg, including such masterpieces as Raphael's Alba Madonna, Titian's Venus with a Mirror, and Jan van Eyck's The Annunciation.

From 16th century Venice, the Louvre displays Titian's Le Concert Champetre, The Entombment and The Crowning with Thorns.

Titian's Tarquin and Lucretia ( 1571 painting ) | Tarquin and Lucretia.

It was this access to corpses which allowed the anatomist Vesalius along with Titian's pupil Jan Stephen van Calcar to complete the revolutionary medical / anatomical text De humani corporis fabrica.

He was very closely associated with Titian ; Vasari says Giorgione was Titian's master, while Ridolfi says they both were pupils of Bellini, and lived in his house.

During the course of his long life, Titian's artistic manner changed drastically but he retained a lifelong interest in color.

Unlike the National Gallery's ' Associate Artist Scheme ', however, Auerbach's work after historic artists was not the result of a short residency at the National Gallery, it has a long history, and in this exhibition he showed paintings made after Titian's Bacchus and Ariadne, from the 1970s to Rubens's Samson and Delilah made in 1993.

Titian's version ( illustration c. 1515 ) emphasizes the contrast between the innocent girlish face and the brutally severed head.

Indeed, Agostino, Annibale and Lodovico Carracci had tried to combine in their art Michelangelo's line, Titian's color, Correggio's chiaroscuro, and Raphael's symmetry and grace.