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Portrait of Francesco Maria della Rovere, Duke of Urbino, 1536 by Tiziano Vecellio (Titian) (1490-1576, Italy) | Oil Painting | WahooArt.com

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Painting Copy Portrait Of Francesco Maria Della Rovere - Duke Of Urbino - 1536 By Tiziano Vecellio , Artworks
Portrait of Francesco Maria della Rovere, Duke of Urbino, 1536 by Tiziano Vecellio (Titian) (1490-1576, Italy) | Oil Painting | WahooArt.com
Painting Copy Portrait Of Francesco Maria Della Rovere - Duke Of Urbino - 1536 By Tiziano Vecellio , Artworks

"Portrait of Francesco Maria della Rovere, Duke of Urbino"

Tiziano Vecellio (Titian) - Oil On Canvas - 114 x 103 cm - 1536 - (Galleria degli Uffizi (Florence, Italy))

The interesting spatial composition of this picture was undoubtedly Titian's own idea, as is the treatment of the figure of Mary, who is wearing a wonderfully draped garment with wide folds, made of a heavy lustrous silk. Numerous scholars have expressed their doubts about the figure of the angel and the kneeling donor Broccardo Malchiostro. In 1526, the citizens of Treviso, animated by a strong dislike of Malchiostro and outrage that he should have had himself so obviously portrayed in an altarpiece — something that was not customary in either Venice or Treviso — smeared pitch across the painting, and the work had to be renovated.



 
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Portrait of Francesco Maria della Rovere, Duke of Urbino, 1536 by Tiziano Vecellio (Titian) (1490-1576, Italy) | Oil Painting | WahooArt.com
/Art.nsf/O/8Y2UG2/$File/Tiziano-Vecellio-titian-Portrait-of-Francesco-Maria-della-Rovere-Duke-of-Urbino.JPG
The interesting spatial composition of this picture was undoubtedly Titian's own idea, as is the treatment of the figure of Mary, who is wearing a wonderfully draped garment with wide folds, made of a heavy lustrous silk. Numerous scholars have expressed their doubts about the figure of the angel and the kneeling donor Broccardo Malchiostro. In 1526, the citizens of Treviso, animated by a strong dislike of Malchiostro and outrage that he should have had himself so obviously portrayed in an altarpiece — something that was not customary in either Venice or Treviso — smeared pitch across the painting, and the work had to be renovated.
Tiziano Vecellio (Titian)
Oil On Canvas
Oil On Canvas