Jean de Jullienne (1686-1766) was one of the leading French amateurs and collectors of the eighteenth century. He played an important role as editor and dealer, most famously of Watteau's oeuvre, and held an influential position in the French art administration of his time, as director of the Gobelins factory until 1729. Jullienne's collection epitomizes the most advanced taste of Parisian private collectors of the period. His strong interest in contemporary French art, Netherlandish painting, in sketches, pastels and drawings were all typical or even trendsetting for a new generation of rich Parisian collectors with only loose ties to the French court. The two sales of his collection were major events for the European art market. The watercolor views of his collection in the inventory from 1756, a unique document for the period, are here published in their entirety for the first time. This exhibition catalog will present masterworks from Jullienne's collection, including Rubens, Rembrandt, Watteau, Wouwermans, Netscher, Bourdon, Vanloo, Greuze and Vernet. These are drawn from the Wallace Collection as well as museums in London, Edinburgh, Valenciennes, Berlin and from several important British private collections.

Published to mark the reopening of the spectacular baroque interior of the Old Royal Naval College in Greenwich after a landmark conservation project, The Painted Hall is a wonderful celebration of what has been called `the Sistine Chapel of the UK'. The ceiling and wall decorations of the Painted Hall were conceived and executed by the artist Sir James Thornhill between 1707 and 1726 - years that witnessed the Act of Union during the reign of Queen Anne and Great Britain's rise to become a dominant Protestant power in a predominantly Catholic Europe. The accessions to the throne of William III and Mary II in 1688 and George I in 1714 form the central narrative of a scheme that also honours Britain's maritime successes and mercantile prosperity. The artist drew on a cast of around 200 figures - a mixture of historical, contemporary, allegorical and mythological characters - to tell a story of political change, scientific and cultural achievements, naval endeavours, and commercial enterprise against a series of magnificent backdrops. In the first part of the book, Dr Anya Lucas describes the history and architecture of the building and the background to Thornhill's commission. The grandeur of his composition, which covers 40,000 square feet, reflects the importance of the space that the paintings adorn: the hall of the new Royal Hospital for Seamen. The Hospital was established in 1694 at Queen Mary's instigation for men invalided out of the Navy, and was designed by Sir Christopher Wren and Nicholas Hawksmoor. The Painted Hall was originally intended as a grand dining room, but it soon became a ceremonial space open to paying visitors and reserved for special functions. The last naval pensioners left the site in 1869, when it became home to the Royal Naval College, an officers' training academy. The passage of nineteen years from the start of the commission to its completion, and the need to navigate contemporary political events, meant that Thornhill was required to rethink the design of his paintings several times. His preparatory sketches for the Painted Hall reveal how carefully he experimented with and planned the content. When he had finished his work, Thornhill wrote An Explanation of the paintings, which was published by the Hospital directors and sold to visitors. This guide is the subject of the second part of our book, by Dr Richard Johns. Johns also explores image and meaning in Thornhill's decorative scheme, which stretches across three distinct but connected spaces: the domed Vestibule, the long Lower Hall, and the Upper Hall, together presenting a vivid and compelling picture of Britain's place in the world according to those who governed it at the start of the 18th century. During the last 300 years, smoke and dirt built up on the fragile painted surfaces of the Hall, and varnish layers fractured under the effects of heat and humidity. In the final part of the book, the specialist conservators Sophie Stewart and Stephen Paine consider historic restorations of the Painted Hall from the 18th century to the Ministry of Works campaign of the late 1950s. The spring of 2019 sees the completion of a ground-breaking conservation programme that has reversed decades of decay and ensured the long-term preservation of the paintings. Now that every inch of decorated surface has been lovingly cleaned and conserved, new photography brings the colour, clarity and vibrancy of Thornhill's masterpiece to life.

The DeMell Jacobsen Collection of paintings and sculpture—an assemblage rich in American cultural heritage—parallels the development of art in the United States. American Made features some of the country’s most recognized artists: Thomas Cole, John Kensett, Asher B. Durand and William Trost Richards, while works by Theodore Robinson, Childe Hassam, Willard Leroy Metcalf and William Merritt Chase represent the Grand Tour and concepts gained abroad. Wonderful still lifes appear throughout the collection, including paintings by Severin Roesen, William Harnett and a late work by William Bailey. Portraiture is represented in stellar examples by members of the Peale family, Thomas Sully, Mary Cassatt, John Singer Sargent and Edmund Charles Tarbell. Classically-inspired marble works from Hiram Powers and Randolph Rogers, bronze pieces from Paul Manship and Augustus Saint-Gaudens, and a modern copper and bronze example from Harry Bertoia are highlights of the sculpture collection. Early modernist and interwar works by Marsden Hartley, John Marin, Emil Bisttram, Paul Cadmus and Joseph Stella explore colour, form and abstraction. Highlights of contemporary art include works by Frank Stella, Louise Nevelson and a recently acquired painting by Alexis Rockman. Fully illustrated—with several paintings including profiles of their appropriate period frames—each work of art features an extended entry with full specifications, information on style and stylistic influences, significance and social context.

Chinoiserie, a decorative style inspired by the art of the Far East, gripped Britain from the late seventeenth to the early nineteenth century. Despite taking its name from the French word for 'Chinese', the style also incorporated influences from other Asian countries, helping to shape the period's popular fantasy of the 'exotic Orient'. Wealthy consumers jostled to obtain imported wallpaper, lacquered cabinets and hand-painted porcelain, while domestic manufacturers such as Royal Worcester and Chippendale met demand with mass-produced items of their own. Though interest in the style waned as the Gothic Revival took hold, many examples of Chinoiserie have been preserved. In this beautifully illustrated book, Richard Hayman tells the story of this fascinating phenomenon, and explores the profound impact of Chinoiserie on the material culture of the West.

Art in Theory (1648-1815) provides a wide-ranging and comprehensive collection of documents on the theory of art from the founding of the French Academy until the end of the Napoleonic Wars. Like its highly successful companion volumes, Art in Theory (1815-1900) and Art in Theory (1900-1990), its' primary aim is to provide students and teachers with the documentary material for informed and up-to-date study. Its' 240 texts, clear principles of organization and considerable editorial content offer a vivid and indispensable introduction to the art of the early modern period.
Harrison, Wood and Gaiger have collected writing by artists, critics, philosophers, literary figures and administrators of the arts, some reprinted in their entirety, others excerpted from longer works. A wealth of material from French, German, Italian, Spanish, Dutch and Latin sources is also provided, including many new translations.
Among the major themes treated are early arguments over the relative merits of ancient and modern art, debates between the advocates of form and color, the beginnings of modern art criticism in reviews of the Salon, art and politics during the French Revolution, the rise of landscape painting, and the artistic theories of Romanticism and Neo-classicism.
Each section is prefaced by an essay that situates the ideas of the period in their historical context, while relating theoretical concerns and debates to developments in the practice of art. Each individual text is also accompanied by a short introduction. An extensive bibliography and full index are provided.
For more details of our book and journal list in Art, visit http: //www.blackwellpublishing.com/arttheory

This book examines the links between the unprecedented visual inventiveness of the Romantic period in Britain and eighteenth-century theories of the sublime. Edmund Burke's Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757), in particular, is shown to have directly or indirectly challenged visual artists to explore not just new themes, but also new compositional strategies and visual media such as panoramas and book illustrations, by arguing that the sublime was beyond the reach of painting. More significantly, it began to call into question mimetic representational models, causing artists to reflect about the presentation of the unpresentable and drawing attention to the process of artistic production itself, rather than the finished artwork. -- .

An illustrated exploration of the artist, Rembrandt van Rijn, his life and context, with a gallery of 300 of his finest works. This is a fascinating biography that explores his early years, his personal life and the historical context of the early 17th century. It analyzes his creative progress and the artistic influences that led him to develop his work from the grand Baroque to a less exuberant style.

The volume examines the mutually constitutive relationship between the materiality of objects and their aesthetic meanings. Its approach connects material culture with art history, curation, technologies and practices of making. A central dimension of the case studies collected here is the mobility of objects between Europe and China and the transformations that unfold as a result of their transcultural lives. Many of the objects studied here are relatively unknown or understudied. The stories they recount suggest new ways of thinking about space, cultural geographies and the complex and often contradictory association of power and culture. These studies of transcultural objects can suggest pathways for museum experts by uncovering the multi-layered identities and temporalities of objects that can no longer be labelled as located in single regions. It is also addressed to students of art history, of European and Chinese studies and scholars of consumer culture. " This eagerly awaited volume offers deep and extensive insights into the fast-growing field of material culture studies. Its fresh approach to Eurasian objects and materialities will serve as useful reading for all scholars interested in transcultural and global studies. A very helpful introductory essay. " Sabine du Crest, University of Bordeaux Montaigne, Former Fellow, The Harvard University Center for Italian Renaissance Studies.

Printed artworks were often ephemeral, but in the early modern period, exchanges between print and other media were common, setting off chain reactions of images and objects that endured. Paintings, sculpture, decorative arts, musical or scientific instruments, and armor exerted their own influence on prints, while prints provided artists with paper veneers, templates, and sources of adaptable images. This interdisciplinary collection unites scholars from different fields of art history who elucidate the agency of prints on more traditionally valued media, and vice-versa. Contributors explore how, after translations across traditional geographic, temporal, and material boundaries, original 'meanings' may be lost, reconfigured, or subverted in surprising ways, whether a Netherlandish motif graces a cabinet in Italy or the print itself, colored or copied, is integrated into the calligraphic scheme of a Persian royal album. These intertwined relationships yield unexpected yet surprisingly prevalent modes of perception. Andrea Mantegna's 1470/1500 Battle of the Sea Gods, an engraving that emulates the properties of sculpted relief, was in fact reborn as relief sculpture, and fabrics based on print designs were reapplied to prints, returning color and tactility to the very objects from which the derived. Together, the essays in this volume witness a methodological shift in the study of print, from examining the printed image as an index of an absent invention in another medium - a painting, sculpture, or drawing - to considering its role as a generative, active agent driving modes of invention and perception far beyond the locus of its production.

The authors in this illustrated volume explore how art historical and technical examination of 15th-18th century European paintings conducted in tandem not only address key subjects such as meaning, materials, and manufacturing techniques, but also allow fresh perspectives on the prevailing workshop practices of copying, replicating, and emulating paintings.

Fancy in the eighteenth century was part of a rich semantic network, connecting wit, whimsicality, erotic desire, spontaneity, deviation from norms and triviality. It was also a contentious term, signifying excess, oddness and irrationality, liable to offend taste, reason and morals. This collection of essays foregrounds fancy - and its close synonym, caprice - as a distinct strand of the imagination in the period. As a prevalent, coherent and enduring concept in aesthetics and visual culture, it deserves a more prominent place in scholarly understanding than it has hitherto occupied. Fancy is here understood as a type of creative output that deviated from rules and relished artistic freedom. It was also a mode of audience response, entailing a high degree of imaginative engagement with playful, quirky artworks, generating pleasure, desire or anxiety. Emphasizing commonalities between visual productions in different media from diverse locations, the authors interrogate and celebrate the expressive freedom of fancy in European visual culture. Topics include: the seductive fictions of the fancy picture, Fragonard and galanterie, fancy in drawing manuals, pattern books and popular prints, fans and fancy goods, chinoiserie, excess and virtuality in garden design, Canaletto's British 'capricci', urban design in Madrid, and Goya's 'Caprichos'.

Hogarth has long been viewed as an insular and chauvinistic individual, with a particular aversion to all things French. On the contrary, while Hogarth himself liked to project this image, his effective invention of British art was founded upon a profound knowledge of contemporary French art and theory. This lavishly illustrated book conjures up in great detail the French and wider European context within which Hogarth's art was formed. Robin Simon examines the ways in which Hogarth interacted with and influenced his contemporaries not only in painting and printmaking, but also in sculpture, poetry, the novel, the theater, public life, art education, copyright law, music and opera. In this wide-ranging but richly detailed book, full of analyses of individual works, the author draws upon a mass of new material, with fresh analyses of Hogarth's most famous and less well-known works alike, opening a window on to one of the most creative and formative periods in British life. Robin Simon, FSA, is Editor of The British Art Journal, having been Editor of Apollo magazine and a tenured university academic for many years before that. He is the author of many scholarly articles on British art, and his books include The Portrait in Britain and America (1987).

The first major English-language biography of Francisco Goya y Lucientes, who ushered in the modern era The life of Francisco Goya (1746-1828) coincided with an age of transformation in Spanish history that brought upheavals in the country's politics and at the court which Goya served, changes in society, the devastation of the Iberian Peninsula in the war against Napoleon, and an ensuing period of political instability. In this revelatory biography, Janis Tomlinson draws on a wide range of documents-including letters, court papers, and a sketchbook used by Goya in the early years of his career-to provide a nuanced portrait of a complex and multifaceted painter and printmaker, whose art is synonymous with compelling images of the people, events, and social revolution that defined his life and era. Tomlinson challenges the popular image of the artist as an isolated figure obsessed with darkness and death, showing how Goya's likeability and ambition contributed to his success at court, and offering new perspectives on his youth, rich family life, extensive travels, and lifelong friendships. She explores the full breadth of his imagery-from scenes inspired by life in Madrid to visions of worlds without reason, from royal portraits to the atrocities of war. She sheds light on the artist's personal trials, including the deaths of six children and the onset of deafness in middle age, but also reconsiders the conventional interpretation of Goya's late years as a period of disillusion, viewing them instead as years of liberated artistic invention, most famously in the murals on the walls of his country house, popularly known as the "black" paintings. A monumental achievement, Goya: A Portrait of the Artist is the definitive biography of an artist whose faith in his art and his genius inspired paintings, drawings, prints, and frescoes that continue to captivate, challenge, and surprise us two centuries later.

This lavishly produced volume presents a survey and analysis of a fascinating cabinet of curiosities established around 1750 by the Cobbe family in Ireland and added to over a period of 100 years. Although such collections were common in British country houses during the 18th and 19th centuries, the Cobbe museum, still largely intact and housed in its original cabinets, now forms a unique survivor of this type of private collection from the Age of Enlightenment. A detailed catalogue of the objects and specimens is accompanied by beautiful, specially commissioned photographs that showcase the cabinet's component elements. Reproductions of portraits from the extensive collection of the Cobbe family bring immediacy to the narrative by illustrating the personalities involved in the collection's development. Scholars contribute commentary on the significance of the objects to their collectors; also included are essays outlining, among other topics, the place of the cabinet of curiosities in Enlightenment society and the history of the Cobbe family. Extracts from the extensive family archive place the collection in its social context. Published for the Paul Mellon Centre for Studies in British Art

While the connected, international character of today's art economy is well known, the 18th century too had global systems of artistic production and consumption. Eighteenth-Century Art Worlds is the first book to create a global map of the art world of the 18th century. Fourteen case studies from distinguished experts explore both cross-cultural connections and local specificities of art production and consumption in Africa, the Americas, Asia, and Europe. The result is an account of a series of interconnected and asymmetrical art worlds that were well developed in the 18th century. Capturing the full material diversity of 18th-century art, this book considers painting and sculpture alongside numerous prints and decorative objects. Analyzing the role of place in the history of 18th-century art, it bridges the disciplines of art history and cultural geography, and draws attention away from any one place as a privileged art-historical site, while highlighting places such as Manila, Beijing, Mexico City, and London as significant points on a global art map. Eighteenth-Century Art Worlds combines a broad global perspective on the history of art with careful attention to how global artistic concerns intersect with local ones, offering a framework for studies in global art history.

Colouring the Caribbean offers the first comprehensive study of Agostino Brunias's intriguing pictures of colonial West Indians of colour - so called 'Red' and 'Black' Caribs, dark-skinned Africans and Afro-Creoles, and people of mixed race - made for colonial officials and plantocratic elites during the late-eighteenth century. Although Brunias's paintings have often been understood as straightforward documents of visual ethnography that functioned as field guides for reading race, this book investigates how the images both reflected and refracted ideas about race commonly held by eighteenth-century Britons, helping to construct racial categories while simultaneously exposing their constructedness and underscoring their contradictions. The book offers provocative new insights about Brunias's work gleaned from a broad survey of his paintings, many of which are reproduced here for the first time. -- .

Sculptor, architect, painter, playwright, and scenographer, Gian Lorenzo Bernini (1598-1680) was the last of the great universal artistic geniuses of early modern Italy, placed by both contemporaries and posterity in the same exalted company as Leonardo, Raphael, and Michelangelo. And his artistic vision remains palpably present today, through the countless statues, fountains, and buildings that transformed Rome into the baroque theater that continues to enthrall tourists today. It is perhaps not surprising that this artist who defined the baroque should have a personal life that itself was, well, baroque. As Franco Mormando's dazzling biography reveals, Bernini was a man driven by many passions, possessed of an explosive temper and a hearty sex drive, and he lived a life as dramatic as any of his creations. Drawing on archival sources, letters, diaries, and - with a suitable skepticism - a hagiographic account written by Bernini's son (who portrays his father as a paragon of virtue and piety), Mormando leads us through Bernini's many feuds and love affairs, scandals and sins. He sets Bernini's raucous life against a vivid backdrop of baroque Rome, bustling and wealthy, and peopled by churchmen and bureaucrats, popes and politicians, schemes and secrets. The result is a seductively readable biography, stuffed with stories and teeming with life - as wild and unforgettable as Bernini's art. No one who has been bewitched by the baroque should miss it.

Few British artists have ever achieved such a wide range of style in oil painting, watercolour, drawing and engraving as J. M. W. Turner. He had a precocious gift that was developed over a lifetime of experiment and innovation. This classic book in the World of Art series traces the artist's career - from youthful pictureseque views and watercolours of 'Gothic' ruins to the romantic landscape and historical compositions of his maturity, and the astonishing art of his later years. In these late paintings Turner's tragic sense of life is stated most profoundly and the work was unintelligible to his contemporaries - but his reputation as the greatest British painter now rests on our understanding of these as pioneering explorations of abstraction, prefiguring the art of the 20th century. Graham Reynolds weaves together the artist's biography with sensitive criticism of his work, through all phases of his career, in this classic work - first published in 1969 - that has long served as an outstanding introduction to Turner's life and art. It has now been revised and updated by the curator of the Turner Bequest at Tate, David Blayney Brown, to reflect recent discoveries and interpretations, and the illustrations are in full colour for the first time. It will serve as the best available study of this perennially popular artist for a new generation of readers.

The first exploration of Piranesi's work as a draughtsman, published to coincide with an exhibition at the British Museum. The Venetian-born artist Giovanni Battista Piranesi (1720-1778) is best known for his dramatic prints of the architecture and antiquities of his adopted city of Rome, and for the extraordinary flights of spatial fancy in his series Le Carceri (Prisons). But he was also an astonishingly talented draughtsman, as revealed in this outstanding collection of drawings at the British Museum. This book explores the relationship between Piranesi's drawings and prints, and reveals the way in which his style and interests as a draughtsman evolved over time. Some are spontaneous 'primi pensieri', first thoughts that anticipate a bigger work; others explore more complex exercises in perspective and spatial representation. Piranesi drawings reveals the quality and lasting impact of the work of this remarkably influential artist.

The Crocker Art Museum has one of the finest and earliest German drawings collections in the United States. Featuring artists such as Johann Wolfgang Baumgartner, Anton Raphael Mengs and Johann Heinrich Wilhelm Tischbein, The Splendor of Germany examines the major developments in German draughtsmanship over the course of the eighteenth century. Published to coincide with the collection's 150th anniversary. In the 21st century, the collecting and study of 18th-century German drawings has become a major focus for American museums. One of the finest collections of them, however, has been in California for 150 years. The superb drawings at the Crocker Art Museum, from a Baroque altarpiece design by Johann Georg Bergmuller to a Neoclassical mythology by Johann Heinrich Wilhelm Tischbein, provide a panorama of German draughtsmen and draughtsmanship throughout the century. Many of the drawings are remarkable for their modernity. A self-portrait by Johann Gottlieb Prestel bypasses convention to achieve a direct, unmediated likeness. Well-placed slashes with brush and black ink define the features below his peruke outlined in black chalk. Other drawings encapsulate specific developments and styles, such as Johann Wolfgang Baumgartner's Lazarus and the Rich Man, which shows the florid dynamism of the Augsburg Rococo. A full range of eighteenth-century German artists are represented here, from the satirizing moralists Johann Elias Ridinger and Daniel Chodowiecki to the Classicist and friend of the art theorist Johann Joachim Winkelmann, Anton Raphael Mengs. Landscape artists are especially well represented, such as the key figure Johann Georg Wille, printmaker to the French king Louis XV, and generations of artists he taught and influenced all the way to the early Romantic landscapists. The exhibition and catalogue gather together a variety of dynamic and sensitive portraits, charming scenes of daily life, and often humorous moralizing subjects, as well as narratives, both religious and mythological, from the late Baroque to Neoclassicism. In the realm of landscape, the depth of the collection allows the exhibition to trace schools and influences-in addition to Wille's mentioned above-even in families such as that of Prestel, whose wife and daughter were both landscapists. It also allows it to demonstrate the great variety of works by single artists such as Christoph Nathe, represented by four landscapes in four different genres including a splendid scene near Goerlitz. Some artists, in fact, work in several genres as in the case of Johann Christian Klengel, whose works include the scene of a family by candlelight, a farmstead landscape, and a sketchbook that he carried through the countryside to record picturesque views. This is a rare opportunity for the public and for drawings enthusiasts. Two-thirds of the drawings in the exhibition have not been shown before; most of the exceptions have not been seen since 1989. Because of the drawings' 150-year history of limited exposure, the state of preservation of the collection is exceptional, as is the condition of the new acquisitions included in the exhibition.

The first comprehensive study of William Ince and John Mayhew's famous eighteenth-century cabinetmaking partnership, complemented by high-quality photographs of their work. The partnership of William Ince (1737-1804) and John Mayhew (1736-1811) ran from 1758 to 1804, and was one of the most enduring and well-connected collaborations in Georgian London's tight-knit cabinetmaking community. The partners' clientele was probably larger, and their work was arguably more influential over a longer period, than most other leading metropolitan makers - perhaps even than that of their older contemporary, the celebrated Thomas Chippendale. Despite their considerable output and an impressive tally of clients and commissions, much of Ince and Mayhew's work has remained unidentified until recent times. The authors' substantial research in private family archives, county record offices and bank archives has allowed them to uncover much new evidence about the business and its influence within cabinetmaking circles. In Industry and Ingenuity, the results of these new investigations are presented alongside an impressive selection of more than 500 colourful, vibrant photographs of Ince and Mayhew's works, many previously unpublished, which together emphasise the partnership's proper position in the pantheon of great eighteenth-century cabinetmakers.

This is the first biography and reference book dedicated to Samuel Percy, a modeller who produced an impressive oeuvre of wax portraits and tableaux in the mid-to-late eighteenth and early nineteenth century. Based in part on the author's own substantial collection of Percy waxes, this book follows Percy from his beginnings in Dublin, at the Dublin Society Drawing Schools, working with the famed statuary John Van Nost; to England, where he journeyed from town to town, putting advertisements in regional newspapers. These revealing advertisements have been gathered here for the first time, in order to track his travels. Whether taking the likeness of Princess Charlotte of Wales, or falling victim to a highway robber in Birmingham, these fragments of Percy's history paint a fascinating picture of his life as a wandering artisan. As well as a chronological narrative of Percy's life, this book commits an entire chapter to an area of his work that has never been studied before: his miniature tableaux. These portray various subjects, both religious and secular, from Christ on the Cross to playing children. They are catalogued in an appendix, and almost thirty are illustrated. Based entirely on original research, Mr. Percy: Portrait Modeller in Coloured Wax features over a hundred illustrations, celebrating both Percy's accomplishments and the works of other modellers for comparison.

Over the course of the long 18th century, many of England’s grandest country houses became known for displaying noteworthy architecture and design, large collections of sculptures and paintings, and expansive landscape gardens and parks. Although these houses continued to function as residences and spaces of elite retreat, they had powerful public identities. Increasingly accessible to tourists, and extensively described by travel writers, they began to be celebrated as sites of great importance to national culture. Touring and Publicizing England's Country Houses in the Long Eighteenth Century examines how these identities emerged, repositioning the importance of country houses in 18th-century Britain and exploring what it took to turn them into tourist attractions. Drawing on travel books, guidebooks, and dozens of tourists’ diaries and letters, it explores what it meant to tour country houses such as Blenheim Palace, Chatsworth, Wilton, Kedleston and Burghley in the tumultuous 1700s. It also questions the legacies of these early tourists: both as a critical cultural practice in the 18th century, and an extraordinary and controversial influence in British culture today, country-house tourism is a topic of rich debate for students, scholars and patrons of the heritage sector.

Celebrated for his use of expressive brush marks, which filled his paintings with dynamism, light and colour in a way not seen before in Renaissance art, Tiziano Veccellio became the greatest painter 16th-century Venice had ever known. In the first half of her beautiful new book, Susie Hodge explores Titian's fascinating life through his family, friends, patrons and commissions. Starting out as a young apprentice in the great city of Venice, Titian grew up surrounded with spectacular works of art, architecture and sculpture. His early influences and remarkable achievements are explained clearly with informative and attractive illustrations throughout. The second half of the book contains a comprehensive gallery of over 300 of Titian's major works. of art, each of which is accompanied by a thorough analysis of the artwork and its significance within the context of Titian's life, his rapidly changing technique and his body of work as a whole.