Titian, Diana and Acteon, Oil on Canvas, 1556-9, NG, London

Comprehensive description:

Lateral format
Forest scene
Stream runs the entire length of the foreground
Diana - right side, seated
Stone basin with relief
Gothic arch
Sky recedes
Dolomite mountains
5 nymphs
Receding landscape in the background
Amphora of water, reflects light and shows intricate brushwork
Discarded bow
Gold mosaic, implies Venetian art with byzantine influence
Acteon hunted in the wood and suddenly came across the figures, revealing flesh as he pulls the drape aside

Analysis:

Movement implied in the dropped bow,

Immediacy important to create the impression of suprise

Dog demonstrates the reversal of the thrust

Skull - symbolism, proleptic of Acteon's fate

Water demonstrates Titian's virtuosity as a painter

The viewer empathizes with Acteon (male audience)

Sparkling light in the water, conveyed through animated brushwork

Light reflects and refracts from the Amphora

Loose brushwork (facture) in the nymphs in the background

A nymph still washes her feet - suggests immediacy of the action

AO4:

Private commission

For the enjoyment of young men to gaze at nude women, celebration of flesh

Sexual/visual feast for a gentleman of the 16th century

Men could show they were knowledgeable of myth

Diana is the Roman goddess of the hunt - she splashes water onto Acteon, he turns into a stag and is attacked by his own dogs

A later work by Titian, Death of Acteon, shows a reversal of the stances of Diana and Acteon, we empathise with Diana. The temple is lost, no water is in the foreground. This painting has more movement and immediacy than Diana and Acteon (looser brush)

Biography:

1490:1576

This is a late work of Titian

	Erstellt von Biba Stern vor fast 8 Jahre

A level History of Art Notiz am Titian, Diana and Acteon, Oil on Canvas, 1556-9, NG, London, erstellt von Biba Stern am 12/02/2017.