MMaxi

The Deposition, 1611 central piece in triptych

Painting that would emulate Titian attempts to catch to catch the sensational aspects of things. What painting, as an art, shares with objects of sensation is visibility ; and vision is in the first instance the experience of being bombarded by stimuli of colour . Rubens attempted to evoke all the senses in his work. It is enough to refer to the grimy, bruised and bloody foot of Christ touching the pale skin of the Magdalen's shoulder in his 1611 Deposition. But the important thing for him is the engagement of the senses. The role of the eye in the context of painting is self-evident.

Man with a glove, c. 1520

Tiziano Vecelli or Vecellio (c. 1488-90 – August 27, 1576), better known as Titian, 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 Italy, and died in Venice. During his lifetime he was often called Da Cadore, taken from the place of his birth.

Recognised 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 40, 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.