关于威尼斯的资料关于威尼斯的资料简短50字

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求威尼斯画家Titian的英文详细资料
威尼斯的简短资料
威尼斯的小艇的资料
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求威尼斯画家Titian的英文详细资料

tiziano vecelli or tiziano vecellio (c. 1485 – august 27, 1576), better known as titian, (tish-uhn), was the leader of the 16th-century venetian school of the italian renaissance. he was born in pieve di cadore, in the cadore territory, near belluno (veneto), in most serene republic of venice, and died in venice. during his lifetime he was often called da cadore, taken from the place of his birth.

recognized by his contemporaries as "the sun amidst small stars" (recalling the famous final line of dante's paradiso), titian was one of the most versatile of italian painters, equally adept with portraits and landscapes (two genres that first brought him fame), mythological and religious subjects. had he died at the age of forty, he would still have to be regarded as one of the most influential artists of his time. but he lived on for a further half century, changing his manner so drastically that some critics refuse to believe that his early and later pieces could have been produced by the same man. what unites the two parts of his career is his deep interest in colour. his later works may not contain vivid, luminous tints as his early pieces do, yet their loose brushwork and subtlety of polychromatic modulations have no precedents in the history of western art.

biography

early years

no one is sure of the exact date of titian's birth; when he was old he claimed it was 1477 in a letter to philip ii, but this seems most unlikely.[1] other writers contemporary to his old age give figures for his age which would equate to birth-dates between 1473 to after 1482, but most modern scholars believe a date nearer 1490 is more likely. he was the eldest of a family of four and son of gregorio vecelli, a distinguished councillor and soldier, and of his wife lucia. his father was superintendent of the castle of pieve di cadore and also managed local mines for their owners.[2] many relatives, including titian's grandfather, were notaries, and the family were well-established in the area, which was ruled by venice.

at the age of about ten to twelve he and his brother francesco (who perhaps followed later) were sent to an uncle in venice to find an apprenticeship with a painter. the minor painter, sebastian zuccato, whose sons became well-known mosaicists, and who may have been a family friend, arranged for the brothers to enter the studio of the elderly gentile bellini, from which they later transferred to that of his brother giovanni bellini.[2] at that time the bellinis, especially giovanni, were the leading artists in the city. there he found a group of young men about his own age, among them giovanni palma da serinalta, lorenzo lotto, sebastiano luciani, and giorgio da castelfranco, nicknamed giorgione. francesco vecellio, his younger brother, later became a painter of some note in venice.

a fresco of hercules on the morosini palace is said to have been one of his earliest works; others were the virgin and child (the bellini-esque so-called gypsy madonna), in vienna, and the visitation of mary and elizabeth (from the convent of s. andrea), now in the accademia, venice.

titian joined giorgione as an assistant, but many contemporary critics already found his work more impressive, for example in the exterior frescoes (now lost) that they did for the fondacio dei tedeschi, and their relationship evidently had a significant element of rivalry. distinguishing between their work at this period remains a subject of scholarly controversy, and there has been a substantial movement of attributions from giorgione to titian in the 20th century, with little traffic the other way. one of the earliest known works of titian, the little ecce homo of the scuola di san rocco, was long regarded as the work of giorgione.

the two young masters were likewise recognized as the two leaders of their new school of "arte moderna", that is of painting made more flexible, freed from symmetry and the remnants of hieratic conventions still to be found in the works of giovanni bellini.

in 1507-1508 giorgione was commissioned by the state to execute frescoes on the re-erected fondaco dei tedeschi. titian and morto da feltre worked along with him, and some fragments of paintings remain, probably by giorgione. some of their work is known, in part, through the engravings of fontana. after giorgione's early death in 1510, titian continued to paint giorgionesque subjects for some time, though his style developed its own trademarks, including bold and expressive brushwork.

titian's talent in fresco is shown in those he painted in 1511 at padua in the carmelite church and in the scuola del santo, some of which have been preserved, among them the meeting at the golden gate, and three scenes from the life of st. anthony of padua, the murder of a young woman by her husband, a child testifying to its mother's innocence, and the saint healing the young man with a broken limb.

from padua in 1512, titian returned to venice; and in 1513 he obtained a broker's patent in the fondaco dei tedeschi (state-warehouse for the german merchants), termed la sanseria or senseria (a privilege much coveted by rising or risen artists), and became superintendent of the government works, being especially charged to complete the paintings left unfinished by giovanni bellini in the hall of the great council in the ducal palace. he set up an atelier on the grand canal at s. samuele, the precise site being now unknown. it was not until 1516, upon the death of bellini, that he came into actual enjoyment of his patent. at the same time he entered an exclusive arrangement for painting. the patent yielded him a good annuity of 20 crowns and exempted him from certain taxes — he being bound in return to paint likenesses of the successive doges of his time at the fixed price of eight crowns each. the actual number he executed was five.

growth

giorgione died in 1510 and the aged bellini, 1516, leaving titian unrivaled in the venetian school. for sixty years he was to be the undisputed master of venetian painting, and as it were, the painter laureate of the republic serenissime. as early as 1516 he succeeded his old master bellini in receiving a pension from the senate.

during this period (1516-1530), which may be called the period of his mastery and maturity, the artist moved on from his early giorgionesque style, undertook larger and more complex subjects and for the first time attempted a monumental style.

in 1518 he produced for the high altar of the church of the frari, his famous masterpiece, the assumption of the virgin, still in situ. this extraordinary piece of colorism, executed on a grand scale rarely before seen in italy, excited a sensation. the signoria took note, and observed that titian was neglecting his work in the hall of the great council.

the pictorial structure of the assumption — that of uniting in the same composition two or three scenes superimposed on different levels, earth and heaven, the temporal and the infinite — was continued in a series of works such as the retable of san domenico at ancona (1520), the retable of brescia (1522), and the retable of san niccolò (1523), in the vatican museum), each time attaining to a higher and more perfect conception, finally reaching a classic formula in the pesaro madonna, (c. 1519-1526), at santa maria gloriosa dei frari in venice. this perhaps is his most studied work, whose patiently developed plan is set forth with supreme display of order and freedom, originality and style. here titian gave a new conception of the traditional groups of donors and holy persons moving in aerial space, the plans and different degrees set in an architectural framework.

titian was now at the height of his fame, and towards 1521, following the production of a figure of st. sebastian for the papal legate in brescia (a work of which there are numerous replicas), purchasers pessed for his work.

to this period belongs a more extraordinary work, the death of st. peter martyr (1530), formerly in the dominican church of san zanipolo, and destroyed by an austrian shell in 1867. only copies and engravings of this proto-baroque picture remain; it combined extreme violence and a landscape, mostly consisting of a great tree, that pressed into the scene and seems to accentuate the drama in a way that looks forward to the baroque.

the artist simultaneously continued his series of small madonnas which he treated amid beautiful landscapes in the manner of genre pictures or poetic pastorals, the virgin with the rabbit in the louvre being the finished type of these pictures. another work of the same period, also in the louvre, is the entombment. this was also the period of the large mythological scenes for the studiolo of alfonso d'este in ferrara, such as the famous bacchanals of the prado, and the bacchus and ariadne of london, "...perhaps the most brilliant productions of the neo-pagan culture or "alexandrianism" of the renaissance, many times imitated but never surpassed even by rubens himself."[3] finally this was the period when the artist composed the half-length figures and busts of young women, probably courtesans, such as flora of the uffizi, or the young woman at her toilet in the louvre.

in 1525 he married a lady named cecilia, thereby legitimizing their first child, pomponio, and two (or perhaps three) others followed, including titian's favorite, orazio, who became his assistant. about 1526 he became acquainted, and soon exceedingly intimate, with pietro aretino, the influential and audacious figure who features so strangely in the chronicles of the time. titian sent a portrait of him to gonzaga, duke of mantua.

in august 1530 his wife died giving birth to a daughter, lavinia, and with his three children he moved house, and got his sister orsa to come from cadore and take charge of the household. the mansion, difficult to find now, is in the bin grande, then a fashionable suburb, at the extreme end of venice, on the sea, with beautiful gardens and a view towards murano.

maturity

during the next period (1530-1550), titian developed the style introduced by his dramatic death of st. peter martyr. the venetian government, dissatisfied with titian's neglect of the work for the ducal palace, ordered him in 1538 to refund the money which he had received, and pordenone, his rival of recent years, was installed in his place. however, at the end of a year pordenone died, and titian, who meanwhile applied himself diligently to painting in the hall the battle of cadore, was reinstated. this major battle scene, was lost along with so many other major works by venetian artists by the great fire which destroyed all the old pictures in the great chambers of the doge's palace in 1577. it represented in life-size the moment at which the venetian general, d'alviano attacked the enemy with horses and men crashing down into a stream, and was the artist's most important attempt at a tumultuous and heroic scene of movement to rival raphael's battle of constantine and the equally ill-fated battle of cascina of michelangelo and the battle of anghiari of leonardo (both unfinished). there remains only a poor, incomplete copy at the uffizi, and a mediocre engraving by fontana. the speech of the marquis del vasto (madrid, 1541) was also partly destroyed by fire. but this period of the master's work is still represented by the presentation of the blessed virgin (venice, 1539), one of his most popular canvasses, and by the ecce homo (vienna, 1541). despite its loss, the painting had a great influence on bolgnese art and rubens, both in the handling of details and the general effect of horses, soldiers, lictors, powerful stirrings of crowds at the foot of a stairway, lit by torches with the flapping of banners against the sky.

less successful were the pendentives of the cupola at sta. maria della salute (death of abel, sacrifice of abraham, david and goliath). these violent scenes viewed in perspective from below — like the famous pendentives of the sistine chapel — were by their very nature in unfavorable situations. they were nevertheless much admired and imitated, rubens among others applying this system to his forty ceilings (the sketches only remain) of the jesuit church at antwerp.

at this time also, the time of his visit to rome, the artist began his series of reclining venuses (the venus of urbino of the uffizi, venus and love at the same museum, venus and the organ-player, madrid), in which is recognized the effect or the direct reflection of the impression produced on the master by contact with ancient sculpture. giorgione had already dealt with the subject in his dresden picture, finished by titian, but here a purple drapery substituted for a landscape background changed, by its harmonious coloring, the whole meaning of the scene.

titian had from the beginning of his career shown himself to be a masterful portrait-painter, in works like la bella (eleanora de gonzaga, duchess of urbino, at the pitti palace). he painted the likenesses of princes, or doges, cardinals or monks, and artists or writers. "...no other painter was so successful in extracting from each physiognomy so many traits at once characteristic and beautiful," according to the catholic encyclopedia. among portrait-painters titian is compared to rembrandt and velásquez, with the interior life of the former, and the clearness, certainty, and obviousness of the latter.

the last-named qualities are sufficiently manifested in the portrait of paul iii of naples, or the sketch of the same pope and his two nephews, the portrait of aretino of the pitti palace, the eleanora of portugal (madrid), and the series of king charles v of the same museum, the charles v with a greyhound (1533), and especially the charles v at mühlberg (1548), an equestrian picture which as a symphony of purples is perhaps the ne plus ultra of the art of painting.

in 1532 after painting a portrait of the emperor charles v in bologna he was made a count palatine and knight of the golden spur. his children were also made nobles of the empire, which for a painter was an exceptional honor.

as a matter of professional and worldly success his position from about this time is regarded as equal only to that of raphael, michelangelo, and at a later date rubens. in 1540 he received a pension from d'avalos, marquis del vasto, and an annuity of 200 crowns (which was afterwards doubled) from charles v from the treasury of milan.

another source of profit, for he was always aware of money, was a contract obtained in 1542 for supplying grain to cadore, where he visited almost every year and where he was both generous and influential.

titian had a favorite villa on the neighboring manza hill, from which (it may be inferred) he made his chief observations of landscape form and effect. the so-called titian's mill, constantly discernible in his studies, is at collontola, near belluno.[4]

he visited rome in 1546, and obtained the freedom of the city — his immediate predecessor in that honour having been michelangelo in 1537. he could at the same time have succeeded the painter sebastiano del piombo in his lucrative office as holder of the piombo or papal seal, and he was prepared to take holy orders for the purpose; but the project lapsed through his being summoned away from venice in 1547 to paint charles v and others in augsburg. he was there again in 1550, and executed the portrait of philip ii which was sent to england and proved useful in philip's suit for the hand of queen mary.

final years

during the last twenty-five years of his life (1550-1576) the artist worked mainly for philip ii and as a portrait-painter and he became more self-critical, an insatiable perfectionist, keeping some pictures in his studio for ten years, never wearying of returning to them and retouching them, constantly adding new expressions at once more refined, concise, and subtle. he also finished off many copies of earlier works of his by his pupils, giving rise to many problems of attribution and priority among versions of his works, which were also very widely copied and faked outside his studio, during his lifetime and afterwards.

for each of the problems which he successively undertook he furnished a new and more perfect formula. he never again equaled the emotion and tragedy of the crowning with thorns (louvre), in the expression of the mysterious and the divine he never equaled the poetry of the pilgrims of emmaus, while in superb and heroic brilliancy he never again executed anything more grand than the doge grimani adoring faith (venice, doge's palace), or the trinity, of madrid.

on the other hand from the standpoint of flesh tints, his most moving pictures are those of his old age, the dan of naples and of madrid, the antiope of the louvre, the rape of europa (boston, gardner collection), etc. he even attempted problems of chiaroscuro in fantastic night effects (martyrdom of st. laurence, church of the jesuits, venice; st. jerome, louvre). in the domain of the real he always remained equally strong, sure, and master of himself; his portraits of philip ii (madrid), those of his daughter, lavinia, and those of himself are numbered among his masterpieces.

titian had engaged his daughter lavinia, the beautiful girl whom he loved deeply and painted various times, to cornelio sarcinelli of serravalle. she had succeeded her aunt orsa, then deceased, as the manager of the household, which, with the lordly income that titian made by this time, placed her on a corresponding footing. the marriage took place in 1554. she died in childbirth in 1560.

he was at the council of trent towards 1555, of which his admirable picture or finished sketch in the louvre bears record. titian's friend aretino died suddenly in 1556, and another close intimate, the sculptor and architect jacopo sansovino, in 1570. in september 1565 titian went to cadore and designed the decorations for the church at pieve, partly executed by his pupils. one of these is a transfiguration, another an annunciation (now in s. salvatore, venice), inscribed titianus fecit, by way of protest (it is said) against the disparagement of some persons who cavilled at the veteran's failing handicraft.

he continued to accept commissions to the last. he had selected as the place for his burial the chapel of the crucifix in the church of the fran; and, in return for a grave, he offered the franciscans a picture of the pietà, representing himself and his son orazio before the saviour, another figure in the composition being a sibyl. this work he nearly finished; but some differences arose regarding it, and he then settled to be interred in his native pieve.

titian was extremely, and famously, old when the plague raging in venice seized him, and he died on 27 august 1576. he was the only victim of that plague to be given a church burial and was interred in the frari (santa maria gloriosa dei frari), as at first intended, and his pietà was finished by palma the younger. he lies near his own famous painting, the madonna di ca' pesaro. no memorial marked his grave, until much later the austrian rulers of venice commissioned canova to provide the large monument.

immediately after titian's own death, his son and pictorial assistant, orazio, died of the same epidemic. his sumptuous mansion was plundered during the plague by thieves.

威尼斯的简短资料

意大利东北部城市，亚得里亚海威尼斯湾西北岸重要港口。人口34.3万(有统计显示，1957年威尼斯的常住人口为17.4万，而2009年10月份刚刚公布的常住人口总数还不到6万，达到历史最低水平)。主建于离岸4公里的海边浅水滩上，平均水深1．5米。由铁路、公路、桥与陆地相连。由118个小岛组成，并以 177条水道、401座桥梁连成一体，以舟相通，有“水上都市”、“百岛城”、“桥城”之称。公元452年兴建。八世纪为亚得里亚海贸易中心。十世纪曾建立城市共和国，中世纪为地中海最繁荣的贸易中心之一。新航路开通后，因欧洲商业中心渐移至大西洋沿岸而衰落。1866年并入意大利王国。工商业发达，有炼铝、化学、炼焦、化肥、炼油、钢铁等工业。以生产珠宝玉石工艺品、玻璃器皿、花皮革制品、花边、刺绣等著称。陆上的马尔盖拉港是重要油港和客运港。驰名的旅游中心，年有3百万游客。古老的圣马可广场是城市活动中心，广场周围耸立着大教堂、钟楼等拜占庭和文艺复兴时期的建筑物。离岸2公里处的线状沙洲-利多是欧洲最著名的海滨浴场。

威尼斯是一个美丽的水上城市，它建筑在最不可能建造城市的地方-水上,威尼斯的风情总离不开“水”，蜿蜒的水巷，流动的清波，她就好像一个漂浮在碧波上浪漫的梦，诗情画意久久挥之不去。这个城市，有一度曾握有全欧最强大的人力、物力和权势。威尼斯的历史相传开始于公元453年；当时威尼斯地方的农民和渔民为逃避酷嗜刀兵的游牧民族，转而避往亚德里亚海中的这个小岛。威尼斯外形像海豚，城市面积不到7.8平方公里，却由118个小岛组成，177条运河蛛网一样密布其间，这些小岛和运河由大约401座各式各样的桥梁缀接相连。整个城市只靠一条长堤与意大利大陆半岛连接。

威尼斯的小艇的资料

【简介】

意大利东北部城市，亚得里亚海威尼斯湾西北岸重要港口。人口34.3万。主建于离岸4公里的海边浅水滩上，平均水深1．5米。由铁路、公路桥与陆地相连。由118个小岛组成，并以 177条水道、401座桥梁联成一体，以舟相通，有“水上都市”之称。公元452年兴建。八世纪为亚得里亚海贸易中心。十世纪曾建立城市共和国，中世纪为地中海最繁荣的贸易中心之一。新航路开通后，因欧洲商业中心渐移至大西洋沿岸而衰落。1866年并入意大利王国。工商业发达，有炼铝、化学、炼焦、化肥、炼油、钢铁等工业。以生产珠宝玉石工艺品、玻璃器皿、花皮革制品、花边、刺绣等著称。陆上的马尔盖拉港是重要油港和客运港。驰名的旅游中心，年有3百万游客。古老的圣马可广场是城市活动中心，广场周围耸立着大教堂、钟楼等拜占庭和文艺复兴时期的建筑物。离岸2公里处的线状沙洲-利多是欧洲最著名的海滨浴场。

威尼斯圣马可广场涨水这里建筑的方法，是先在水底下的泥上打下大木桩，木桩一个挨一个，这就是地基，打牢了，铺上木板，然后就盖房子，那儿的房子无一不是这么建造的。所以有人说，威尼斯城上面是石头，下面是森林。当年为建造威尼斯，意大利北部的森林全被砍完了。这样的房子，也不用担心水下的木头烂了，它不会烂的，而且会越变越硬，愈久弥坚。此前考古者挖掘马可•波罗的故居，挖出的木头坚硬如铁，出水后见了氧才朽。

威尼斯肥沃的冲积土质，就地而取材的石块，加上用邻近内陆的木头做的小船往来其间；在淤泥中，在水上先祖们建起了威尼斯。这个不到8平方公里的城市，却被一百多条蛛网般密布的运河割成一百多座小岛，岛与岛之间只凭各式桥梁错落连接，初来乍到很快便会迷失在这座“水城”中。好在有大运河呈s形贯穿整个城市。沿着这条号称“威尼斯最长的街道”，可以饱览威尼斯的精华而不用担心迷路。沿岸的近200栋宫殿、豪宅和七座教堂，多半建于14至16世纪，有拜占庭风格、哥特风格、巴洛克风格、威尼斯式等等，所有的建筑地基都淹没在水中，看起来就像水中升起的一座艺术长廊。平日里大运河真的像一条熙熙攘攘的大街一样，各式船只往来穿梭其上，最别致的当然还是贡多拉。

威尼斯有毁于火中又重生的凤凰歌剧院，伟大的文艺复兴和拜占庭式建筑，世界上最美的广场之一—圣马可广场，有美得令人窒息的回廊，大师安东尼奥尼电影中最美的段落有一些就在这儿拍摄；这儿是文艺复兴的一个重镇，产过历史上最重要的画派之一：威尼斯画派；德国音乐大师理查德•瓦格纳在这里与世长辞……这个城市昔日的光荣与梦想通过保存异常完好的建筑延续到今天，它独特的气氛令游人感到如受魔法，令凡是来过的威尼斯游客都念念不舍，乐而忘返。