Workshop of Titian (1490–1576
La Sultana Rossa, or Portrait of a Woman, circa 1550 or ca. 1515-20
Oil on canvas
38 x 30 in. (96.5 x 76.2 cm); Framed: 50 1/2 × 41 7/8 × 3 3/4 in. (128.3 × 106.4 × 9.5 cm)
John and Mable Ringling Museum of Art
The woman in this painting is dressed in a style associated with the Ottoman Empire (centered in what is today Turkey, but which encompassed a vast area, including the Middle East). Titian and his workshop produced a number of paintings of women in "exotic" (Near Eastern or Turkish) dress, to satisfy local demand. Although in the past this painting has been thought to represent a specific person, it is more likely an idealized representation. More on this work
Follower of Titian, Italy, Venetian School, 16th century
A portrait of Roxelana (Haseki Hurrem Sultan, 1506-58)
Oil on canvas
110.5 by 92cm.
Private collection
Estimated for 20,000 - 30,000 GBP in October 2022
Known in the West as Roxelana, this painting depicts one of the most famous women of the Ottoman empire. Originally from what is now western Ukraine she was sold at an early age in the slave markets of Constantinople and entered the harem of Sultan Süleyman I ('The Magnificent'). Her Turkish name, Hurrem meant 'the laughing/joyful one' and she soon became the Sultan's favourite, bearing him six children, until he eventually defied convention and married her.
Süleyman revealed his passion for her in poetry: “My most sincere friend, my confidante, my very existence, my Sultan, my one and only love…The most beautiful among the beautiful…” She enjoyed influence not only over his heart but on his running of the empire. She corresponded with Süleyman when he was away on campaign, keeping him abreast of developments in the capital, and she corresponded with King Sigismund of Poland. She was a major sponsor of architecture and charitable foundations, including in Jerusalem. Most notoriously, though, she promoted her own son at the expense of Süleyman’s oldest, a son by another concubine. Gossip among both the Ottomans and Europeans claimed she had bewitched the Sultan. More on this painting
Follower of Tiziano Vecellio, called Titian
Portrait of a woman, possibly Haseki Hürrem Sultan, called Roxelana, c. (1506-1558), bust-length, in Ottoman costume, with a jewelled headdress
Oil on panel
14¼ x 11¾ in. (36.2 x 29.9 cm.)
Private collection
Sold for GBP 55,250 in Jul 2012
Roxelana, the wife of the Ottoman Sultan Suleyman the Magnificent (1494-1566), is as much a figure of legend as she is of history. A European woman captured in her childhood and presented to Suleyman as a slave concubine, she eventually won the complete devotion of the Sultan, who first freed her and then married her as his Empress, in an astonishing break with tradition. Traditionally believed to have been of Russian (Ruthenian) origins, Roxelana may have been called Ruslana in her native tongue, although other traditions hold that her name was Anastasia or Alexandra. She bore the Sultan six children and her influence over him was such as to make her one of the most powerful women of her age. This and other possible depictions of Roxelana may ultimately derive from a lost portrait by Titian (cf. also the anonymous woodcut published by Mathio Pagani, Venice, circa 1550), who also portrayed Suleyman on several occasions, as well as a daughter identified by Vasari as 'Cameria' (possibly the historical princess Mihrima Sultan, 1522-1578). More on this work
Tiziano Vecelli or Vecellio, known in English as Titian, was an Italian (Venetian) painter of the Renaissance, considered the most important member of the 16th-century Venetian school. He was born in Pieve di Cadore, near Belluno. During his lifetime he was often called da Cadore, 'from Cadore', taken from his native region.
Titian was one of the most versatile of Italian painters, equally adept with portraits, landscape backgrounds, and mythological and religious subjects. His painting methods, particularly in the application and use of colour, exercised a profound influence not only on painters of the late Italian Renaissance, but on future generations of Western artists.
During the course of his long life, Titian's artistic manner changed drastically, but he retained a lifelong interest in colour. Although his mature works may not contain the vivid, luminous tints of his early pieces, their loose brushwork and subtlety of tone were without precedent in the history of Western painting. More on Titian
Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest and my art stores at deviantart and Aaroko
Images are copyright of their respective
owners, assignees or others. Some Images may be subject to copyright
I don't own any of these images - credit is
always given when due unless it is unknown to me. if I post your images without
your permission, please tell me.
Ads are shown only to compensate the hosting
expenses.
If you enjoyed this post, please share with
friends and family.
Thank you for visiting my blog and also for
liking its posts and pages.
Please note that the content of this post
primarily consists of articles available from Wikipedia or other free sources
online.
No comments:
Post a Comment