Titian

• “Tiziano Vecellio's Portrait of Isabella d'Este, Marchioness of Mantua 1534 - 1536 is a technical tour de force that exhibits what this great master, who was known as Titian, can do to paint objects that have totally unrelated surfaces and qualities.”

  The Huffington Post: Terence Clarke: Masters of Venice, at The de Young Museum, San Francisco

• “It is a pity he doesn't give more examples, but the poison in Titian – his god – is a sense of mortality; precisely what people see in Freud himself.”

  The Guardian: Man with a Blue Scarf: On Sitting for a Portrait by Lucian Freud, by Martin Gayford

• “a little easel on the desk, and it was, strange enough, with a sense of actual relief, Maude read the word Titian on the frame.”

  Lord Kilgobbin

• “The recovery of the Titian was a seven-year project that culminated in the handover of the painting, wrapped in a plastic bag, at a London bus stop last August.”

  Newsweek: The Purloined Painting

• “But what was all this rapture about a snuffy brown picture called Titian, this delight in three flabby nymphs by Rubens, and so forth?”

  The Newcomes

• “Here too is a judgment of Paris, by Titian, which is reckoned a very valuable piece.”

  Travels through France and Italy

• “It seemed to me that your reception in front of the Titian was a put - up show, " I explained.”

  Best Detective Stories

• “Her features are as regular and delicate as those of a Grecian statue, and her hair of a rich old mahogany color that I suppose an artist would call Titian red.”

  The war-time journal of a Georgia girl, 1864-1865,

• “Titian, which is dark and grimy, is quite pleasing, the infant Christ, who stands between S. Andrew and S. Catherine on a little pedestal, being very real and Venetian.”

  A Wanderer in Venice

• “[32] Among other notable portraits belonging to this early period, but to which within it the writer hesitates to assign an exact place, are the so-called Titian's Physician Parma, No. 167 in the Vienna Gallery; the first-rate Portrait of a Young Man (once falsely named Pietro Aretino), No. 1111 in the Alte Pinakothek of Munich; the so-called Alessandro de 'Medici in the Hampton Court Gallery.”

  The Earlier Work of Titian

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