Carlos v en muhlberg de ticiano

Carlos v en muhlberg de ticiano

Pietà (titian)

The portrait in part gains its impact by its directness and sense of contained power: the horse’s strength seems just in check, and Charles’ brilliantly shining armour and the painting’s deep reds are reminders of battle and heroism. According to Hugh Trevor-Roper, he «does not exult in his victory. He is staid, controlled, pensive, but serene».[1] Titian recorded all of the foreground elements—the horse, its caparison, and the rider’s armour—from those used in the actual battle. Both the armour and harness survive, and are kept at the Royal Armoury in Madrid.[2] It was in the Spanish royal collection until transferred to the Museo del Prado in 1827.

The portrait was commissioned by Charles’ sister, Mary of Austria, Queen of Hungary, with Charles specifying how he wished to be presented.[3] The emperor was very aware of the importance of portraiture in determining how he was seen by others, and appreciated not only Titian’s mastery as a painter, but also the artist’s manner of presenting him as a ruler.[4]

equestrian portrait of charles v analysis

The portrait in part gains its impact by its directness and sense of contained power: the horse’s strength seems just in check, and Charles’ brilliantly shining armour and the painting’s deep reds are reminders of battle and heroism. According to Hugh Trevor-Roper, he «does not exult in his victory. He is staid, controlled, pensive, but serene».[1] Titian recorded all of the foreground elements—the horse, its caparison, and the rider’s armour—from those used in the actual battle. Both the armour and harness survive, and are kept at the Royal Armoury in Madrid.[2] It was in the Spanish royal collection until transferred to the Museo del Prado in 1827.

The portrait was commissioned by Charles’ sister, Mary of Austria, Queen of Hungary, with Charles specifying how he wished to be presented.[3] The emperor was very aware of the importance of portraiture in determining how he was seen by others, and appreciated not only Titian’s mastery as a painter, but also the artist’s manner of presenting him as a ruler.[4]

assumption of the virgin (titian)

The portrait in part gains its impact by its directness and sense of contained power: the horse’s strength seems just in check, and Charles’ brilliantly shining armour and the painting’s deep reds are reminders of battle and heroism. According to Hugh Trevor-Roper, he «does not exult in his victory. He is staid, controlled, pensive, but serene».[1] Titian recorded all of the foreground elements—the horse, its caparison, and the rider’s armour—from those used in the actual battle. Both the armour and harness survive, and are kept at the Royal Armoury in Madrid.[2] It was in the Spanish royal collection until transferred to the Museo del Prado in 1827.

The portrait was commissioned by Charles’ sister, Mary of Austria, Queen of Hungary, with Charles specifying how he wished to be presented.[3] The emperor was very aware of the importance of portraiture in determining how he was seen by others, and appreciated not only Titian’s mastery as a painter, but also the artist’s manner of presenting him as a ruler.[4]

portrait of charles v with a dogpainting by titian

Una copia del cuadro de Tiziano, pintada por Alonso Sánchez Coello, se conserva en el Hospital Tavera de Toledo. Otra copia o versión, de autoría sin aclarar, constaba a finales del siglo XVIII en la Colección Orleans de París; como testimonio de ella queda un grabado de Alexandre Massard que se incluyó en un catálogo ilustrado de dicha colección (hay un ejemplar de dicho grabado en el Museo Británico [1]). El Courtauld Institute of Art de Londres guarda otra copia limitada al busto del monarca, pero de mayor interés: la pintó Rubens durante su estancia en Madrid en 1628-29. De esta copia deriva un grabado de Theodor van Kessel que contribuyó a difundir la efigie.

Carlos v en muhlberg de ticiano 2022

Acerca del autor

admin

Ver todos los artículos