01 Painting, PORTRAIT OF A LADY, Peder Mønsted's Washerwomen at Bordighera, with Footnotes. #154

Peder Mønsted, Danish, 1859 - 1941

Washerwomen at Bordighera, c. 1902

Oil on canvas

62.5 by 44cm., 24½ by 17¼in.

Private collection

Bordighera is a town and comune in the Province of Imperia, Liguria (Italy), located 20 kilometres (12 mi) from the land border between Italy and France. Having the "Capo Sant’Ampelio" which protrudes into the sea, it is the southernmost commune of the region. The cape is at around the same latitude as Pisa and features a little church built in the 11th century for Sant’Ampelio, the patron saint of the city. Since Bordighera is built where the Maritime Alps plunge into the sea, it benefits from the Foehn effect which creates a special microclimate that has warmer winters. More on Bordighera

Peder Mørk Mønsted (10 December 1859 – 20 June 1941) was a Danish realist painter. He is best known for his landscape paintings in a realistic style. His favorite motifs include snowy winter landscapes, still water and forests.

Mønsted was born at Balle Mølle near Grenå, Denmark. At an early age, he began receiving painting lessons at the art school in Aarhus. From 1875 to 1879, studied at the Royal Academy of Fine Arts with Niels Simonsen and Julius Exner. In 1878, Mønsted studied under the artist Peder Severin Krøyer. In 1882, he spent some time in Rome and Capri then, the following year, visited Paris, where he worked in the studios of William Adolphe Bouguereau. He gradually developed a personal style of academic naturalism.

Mønsted was a habitual traveler. In 1889, he went to Algeria. Three years later, he travelled to Greece, where he was a guest of King George I who had been born a Danish prince. While there, he also did portraits of the Greek royal family. After that, he visited Egypt and Spain. During his later years, he spent a great deal of time in Switzerland and travelling throughout the Mediterranean. His travels produced numerous sketches that became paintings he presented at several international exhibitions. He was especially popular in Germany, where he held several shows at the Glaspalast in Munich.

Most of his works are in private collections. In 1995, a major retrospective, called "Light of the North", was held in Frankfurt am Main. Peder Mørk Mønsted

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01 Painting, PORTRAIT OF A LADY, Hans Makart's Karoline Gomperz, with Footnotes. #153

Hans Makart  (1840–1884)

Karoline Gomperz, c. 1879

Oil on canvas

height: 135 cm (53.1 in); width: 95 cm (37.4 in)

Belvedere Museum

Caroline von Gomperz-Bettelheim, (1 June 1845, in Pest – 13 December 1925, in Vienna) was a Hungarian-Austrian court singer and member of the Royal Opera, Vienna. Her younger brother was Anton Bettelheim.

She was born at Pest (Budapest), Hungary. She studied pianoforte with Karl Goldmark, and singing with Moritz Laufer. At the age of 14, she made her début as a pianist, and two years later appeared for the first time in opera at Vienna. She eventually obtained a permanent engagement at the Royal Opera in that city. She has occasionally starred in her favorite rôles in other cities as well as in London. She was the wife of Julius Ritter von Gomperz, president of the Austrian chamber of commerce and member of the Upper House. More on Karoline Gomperz

Hans Makart (28 May 1840 – 3 October 1884) was a 19th-century Austrian academic history painter, designer, and decorator. Makart was a prolific painter whose ideas significantly influenced the development of visual art in Austria-Hungary, Germany, and beyond.

Both celebrated and condemned for his sensual, historical and legacy paintings, Hans Makart produced richly colored and atmospheric works that had an extraordinary impact on late-nineteenth century Viennese culture. Markart was so popular, in fact, that he gave his name to the so-called Makartstil - or Makart-Style - a virtual school of art and design that helped decorate many of the public places in Vienna in the second half of the nineteenth century. Makart's art was condemned however by academics who took exception to the artist's general lack of regard for factual accuracy and for denigrating important historical events by featuring gratuitous female nudity. In the public sphere, meanwhile, he was known as much for the outrageous society parties as for his art. His sumptuously decorated Venetian studio was where royalty, politicians, artists and writers came to mingle and to "be seen". Such was his celebrity in fact that he has be referred to by several commentators as the Andy Warhol of his day. More on Hans Makart

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01 Painting, PORTRAIT OF A LADY, Anthony van Dyck's Portraits of Henrietta Maria de Bourbon, Queen of England, with Footnotes. #152

Hans Makart  (1840–1884)

Portrait of a young woman, c. between 1882 and 1884

Oil on canvas

height: 157 cm (61.8 in); width: 130 cm (51.1 in)

National Museum in Warsaw

Makart was one of the premier portraitists of his time, with a clientele consisting of members of the aristocracy and bourgeoisie. He developed a specific style of female portrait, showing the sitter in full length, painted loosely in a sketch-like manner in a restrained colour palette. Some, however, criticised his work for its superficial treatment of the sitter’s features and for its excessive decorativeness. More on this painting

Hans Makart (28 May 1840 – 3 October 1884) was a 19th-century Austrian academic history painter, designer, and decorator. Makart was a prolific painter whose ideas significantly influenced the development of visual art in Austria-Hungary, Germany, and beyond.

Both celebrated and condemned for his sensual, historical and legacy paintings, Hans Makart produced richly colored and atmospheric works that had an extraordinary impact on late-nineteenth century Viennese culture. Markart was so popular, in fact, that he gave his name to the so-called Makartstil - or Makart-Style - a virtual school of art and design that helped decorate many of the public places in Vienna in the second half of the nineteenth century. Makart's art was condemned however by academics who took exception to the artist's general lack of regard for factual accuracy and for denigrating important historical events by featuring gratuitous female nudity. In the public sphere, meanwhile, he was known as much for the outrageous society parties as for his art. His sumptuously decorated Venetian studio was where royalty, politicians, artists and writers came to mingle and to "be seen". Such was his celebrity in fact that he has be referred to by several commentators as the Andy Warhol of his day. More on Hans Makart

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

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03 works, PORTRAIT OF A LADY, Terence Patrick O'Neill's Audrey Hepburn in Pool, with Footnotes. #152

Terence Patrick O'Neill CBE

Audrey Hepburn in Pool, c.  1966

C-print

17.5 x 12 INCH

Private collection

Estimated for $5,000 in July 2025

Audrey Hepburn on the set of ‘Two for the Road’, 1966, where Joanna and her architect husband, Mark Wallace have been married for a decade, and their relationship's become very rocky. As they drive from their London home to St. Tropez for the unveiling of a house Mark has designed for his clients, Maurice and Francoise Dalbret, they recall the events - both happy and sad. Told in flashback the pair recall their first meeting, and memorable moments in their courtship and early wedded life, as well as the tensions they both felt which led them each to extramarital affairs. With a terrific score by Henry Mancini, this welli-loved Stanley Donnen film's a sparkling effervescent story which deals in an atypical way for films of this time - showing both the joyousness and pathos off love.—Huggo

Terry O'Neill

Audrey Hepburn in Pool, c.  1966

C-print

51 x 61 cm

Private collection

Estimated for CA$26,100 in July 2025

Audrey Hepburn was a renowned actress and humanitarian, celebrated for her distinctive elegance and humanitarian work. Born in 1929 in Brussels to a Dutch baroness and an Englishman, she experienced the hardships of World War II, which shaped her resilience and empathy. Hepburn's early aspirations of becoming a prima ballerina shifted as she pursued acting, eventually leading her to international fame with iconic roles in films like "Roman Holiday," for which she won an Academy Award.

Terry O'Neill,

Audrey Hepburn for 'Two for the Road', South of France, c.1966

Silver gelatin limited edition photographic print on paper

20 × 24 in | 50.8 × 61 cm

Private collection

Estimated for US$12,000 in July 2025

Her unique fashion sense, characterized by simplicity and elegance, transformed the fashion landscape of the 1950s and 1960s, with her close collaboration with designer Hubert de Givenchy marking a lasting influence in both film and style. Beyond her cinematic achievements, Hepburn dedicated her later years to UNICEF, advocating for the rights and needs of vulnerable children worldwide. Her commitment to humanitarian causes made her a beloved figure, and her legacy continues to inspire many. Hepburn passed away in 1993, leaving behind a rich legacy in both film and social advocacy. More on Audrey Hepburn 

Terence Patrick O'Neill CBE (30 July 1938 – 16 November 2019) was a British photographer, known for documenting the fashions, styles, and celebrities of the 1960s. O'Neill's photographs capture his subjects candidly or in unconventional settings.

His work has been featured in numerous exhibitions. He was awarded an honorary fellowship of the Royal Photographic Society in 2004 and the society's Centenary Medal in 2011. His work is held in the collection of the National Portrait Gallery, London. More on Terence Patrick O'Neill

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01 work, PORTRAIT OF A LADY, Sidney Maure's Marilyn Monroe (Died on this day in 1962), with Footnotes. #144

Sidney Maurer (American, b. 1926)

Marilyn Monroe

Mixed media on canvas

30 x 20 inches (76.2 x 50.8 cm)

Private collection

Marilyn Monroe (born Norma Jeane Mortenson; June 1, 1926 – August 5, 1962) was an American actress, singer, and model. Famous for playing comedic "blonde bombshell" characters, she became one of the most popular sex symbols of the 1950s and early 1960s, as well as an emblem of the era's sexual revolution. In 1999, the American Film Institute ranked her sixth on their list of the greatest female screen legends from the Golden Age of Hollywood. 

Born and raised in Los Angeles, Monroe spent most of her childhood in foster homes and an orphanage; she married at age sixteen. She was working in a factory during World War II when she met a photographer from the First Motion Picture Unit and began a successful pin-up modeling career, which led to short-lived film contracts with 20th Century Fox and Columbia Pictures. Over the next two years, she became a popular actress with roles in several comedies.

By 1953, Monroe was one of the most marketable Hollywood stars. The same year, her nude images were used as the centerfold and on the cover of the first issue of Playboy. She played a significant role in the creation and management of her public image throughout her career, but she was disappointed when she was typecast and underpaid by the studio. 

When the studio was reluctant to change Monroe's contract, she founded her own film production company in 1954. She dedicated 1955 to building the company and began studying method acting. Later that year, Fox awarded her a new contract, which gave her more control and a larger salary.

Monroe's troubled private life received much attention. She struggled with addiction and mood disorders. Her marriages to retired baseball star Joe DiMaggio and to playwright Arthur Miller were highly publicized, but ended in divorce. On August 4, 1962, she died at age 36 from an overdose of barbiturates at her Los Angeles home. Her death was ruled a probable suicide. More on Marilyn Monroe 

Sid Maurer's career in the world of Art and Music began at seventeen when he was hired as assistant art director at Columbia Records in New York City, where he spent weekends playing trumpet in Jazz clubs for extra money. In the period that followed, the music business exploded, and Maurer worked designing album covers and promotional material for popular artists.

His co-worker at the time: a young artist by the name of Andy Warhol.

Maurer expanded his commercial art studio to tackle a wide range of projects for the music and film industries. His position brought him into contact with a group of artists, from Pollack to Rauschenberg, and Maurer

In the early nineties, Maurer rmoved to Atlanta where he has lived ever since, developing a vast catalog of works and perfecting his personal style. 


As a painter, Maurer creates large mixed media pieces that are very much a product of his varied training and experience. His style combines bold, dynamic colors and strokes with painstaking layouts and typographical elements.  More on Sid Maurer

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01 work, PORTRAIT OF A LADY, MT COHEN's Portrait of a woman, with Footnotes. #144

MT COHEN

Portrait of a woman

Oil on canvas

130 x 89 cm (51.18 x 35.04 in.)

Private collection

I have not been able to find ant information on the artist, MT COHEN.

The artist's first piece to be offered at auction was "M.T. COHEN Portrait de femme" at Artcurial in 2022.

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 and 365 Days, also visit my Boards on Pinterest

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01 work, PORTRAIT OF A LADY, Cecil Aldin's Land Girl Ploughing, with Footnotes #147

Cecil Aldin (1870–1935)

A Land Girl Ploughing, c.1918

Oil on canvas

H 91.4 x W 228.6 cm

Imperial War Museum London

The scene shows two grey horses harnessed to a plough being driven by a Land Girl, moving from right to left of the composition. Beyond the girl is a view of the distant countryside. A storm is brewing in the grey sky above their heads. More on this painting

The Women's Land Army (WLA) was a British civilian organisation created in 1917 by the Board of Agriculture during the First World War to bring women into work in agriculture, replacing men called up to the military. Women who worked for the WLA were commonly known as Land Girls. The Land Army placed women with farms that needed workers, the farmers being their employers. The women picked crops and did all the jobs that the men had done. Notable members include Joan Quennell, later a Member of Parliament, the archaeologist Lily Chitty and the botanist Ethel Thomas. It was disbanded in 1919 but revived in June 1939 under the same name to again organise women to replace workers called up to the military during the Second World War. More on The Women's Land Army

Cecil Aldin - Born in Slough on 28 April 1870, educated at Eastbourne College and Solihull Grammar School. Studied anatomy at South Kensington and animal painting under William Frank Calderon. Early influences included Randolph Caldecott and John Leech. His drawings first made their way into print in The Building News, and began to appear throughout many popular journals and magazines; his work was published in The Graphic in 1891. He also published a short series of fully illustrated books in 1923, Old Manor Houses and Old Inns. His village scenes and rural buildings were executed in chalk, pencil and wash sketching was used for country scenes. Aldin was an enthusiastic sportsman and a Master of Fox Hounds and many of his pictures illustrated hunting.

Cecil started drawing at a very young age. He studied art at the studio of Albert Moore and then the National Art Training School which later became The Royal College of Art. After this he spent a summer with the fine animal painter and teacher, Frank Calderon. 

The birth of his son and daughter inspired his nursery pictures which together with his large sets of the Fallowfield Hunt, Bluemarket Races, Harefield Harriers and Cottesbrook Hunt prints brought him much popularity. An exhibition in Paris in 1909 was received with much acclaim and extended his fame to a wider audience. 

During the First World War Cecil Aldin was in charge of an Army Remount Depot where he befriended Lionel Edwards, Alfred Munnings and G.D. Armour. Sadly he lost his son, Dudley at Vimy Ridge in 1917, which affected him deeply for many years and had a profound effect of his style of work. 

In 1930 Cecil Aldin had to go and live in a warmer climate due to serious attacks of arthritis but he continued to paint and etch, producing some of his best work. He died in London of a heart attack in January 1935 on a short trip back home. More on Cecil Aldin

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01 work, PORTRAIT OF A LADY, Beatris Burgoin's Water Protectors, with Footnotes, part #143

Beatris Burgoin, Mexico

Water Protectors

Oil on Canvas

24 W x 36 H x 1 D in

Private collection

Water protectors are activists, organizers, and cultural workers focused on the defense of the world's water and water systems. The water protector name, analysis and style of activism arose from Indigenous communities in North America during the Dakota Access Pipeline protests at the Standing Rock Reservation, which began with an encampment on LaDonna Brave Bull Allard's land in April, 2016. More on Water protectors

Beatris Burgoin was born and raised in southern Baja California, Mexico, as a member of an artistic family. Shee began painting when she was 19 years old recovering from a car accident. She has been developing her style for over 19 years and has become a modernist oil painter using only three primary colors and white. Beatris is a very prolific artist, she has explored different forms of art while continuing to develop techniques in oil painting. Her artwork has been acquired by collectors around the world, including Europe, Latin America, the Western Pacific, and North America

"An idea catches my eye, surrounds my mind and inspires me to create. My process is organic and changes like clouds in the sky. I discover as I go. My main influence is 'light' and the subtle contrast with the dark, and how I manifest it with the use of palette knives, brushes and my hands, giving an impasto effect with the texture inherent in oil painting. Oils dry slowly. This allows me to stop the process and start again with, perhaps, a new perspective. Sometimes I use a brush, but mostly I use a palette knife to paint. With the palette knife I can bring clean, vibrant color and texture to the canvas. I choose to use only the three primary colors and white which I like. it gives you the freedom to create any nuance you want and bring a certain harmony, as if you were a conductor in a color orchestra

When we make art we transform ourselves. When we challenge our limits, you are able to expand yourself artistically and, at the same time, feel the connection with our surroundings. At that moment the mind stops. You are in the pure presence of the present, where everything is beyond criticism. More on Beatris Burgoin

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01 work, PORTRAIT OF A LADY, Chant Avedissian's Leyla Fawzy, with Footnotes. #186

Chant Avedissian (Egyptian, 1951-2018)

Leyla Fawzy, c. 2000

(from the Icons of the Nile series)

Stencil with acrylic and metallic paint on board

191⁄4 x 271⁄8in. (49 x 69cm.)

Private collection

Sold for GBP 6,300 in Nov 2022

Laila Fawzi (E1923 - January 12, 2005) was an Egyptian actress and model. She was one of the pioneers of Egyptian cinema and starred in over 85 films throughout her career. In 1940, she was crowned Miss Egypt.

Fawzi was born in Turkey to Egyptian parents. Her father owned fabric stores in Cairo, Damascus and Istanbul. She won Miss Egypt contest in 1940 and was awarded a small role in the Egyptian movie Wives Factory in 1941

Fawzy shot to fame with her success in ‘Saladean’ as Princess Virginia and many remarkable films and stunning performances followed suit. Her performance in ‘Arabian Nights’ won her much praise from her fans and critics alike.

She is also known for joint collaborations and associations with legendary Egyptian actors like the late actors Omar El Sherif, Abdel-Halim, and Yehia Shahin.

Fawzi was married three times to Egyptian actors Aziz Osman, Anwar Wagdi, Galal Moawad and had no children. In the early 2000s she decided to quit showbiz altogether. Fawzi died on January 12, 2005. More on Laila Fawzi

Chant Avedissian was born in 1951 in Cairo, the son of Armenian refugees who fled the Turkish incursions in 1915-16. After studying fine art at the School of Art and Design in Montreal and applied arts at the National Higher School of Decorative Arts in Paris during the 1970s, Avedissian returned to Egypt. He fused the techniques, concepts and cosmopolitan experiences acquired abroad with the heritage of his Armenian-Egyptian background to produce striking commentaries on the world around him. His artistry ranges from photography to costume and textile design to the painted stencils seen here. His relationship with Hassan Fathy, a well-known Egyptian architect who advocated the use of local materials and craftsmanship, challenged Avedissian to reconsider local traditions of artistry and to appreciate the properties of common materials.

Exhibited widely, Avedissian's artwork is held by the National Museum of African Art, Smithsonian Institution; the British Museum, London; the Tropenmuseum, Amsterdam; the National Museums of Scotland, Edinburgh; and the National Gallery of Jordan. More on Chant Avedissian

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01 work, PORTRAIT OF A LADY, Reginald Arthur's Pharaoh's Daughter, with Footnotes, #184

Reginald Arthur

Pharaoh's Daughter, c. 1896

Oil on canvas

101 by 51cm., 40 by 20in.

Private collection

Estimate for 30,000 - 50,000 GBP in July 2016

Pharaoh's Daughter appears to depict the un-named heroine of Exodus who discovered the infant Moses among the bulrushes when she was fetching water from the Nile. It was a popular subject in the nineteenth century and the most famous depiction of her was painted by Lawrence Alma-Tadema. Arthur's picture was painted eight years before Alma-Tadema's but has the same exotic glamour that inspired the early pioneers of cinema and may have been inspired by contemporary opera or theatre. More on Pharaoh's Daughter

Pharaoh, becoming alarmed at the increasing power and numbers of the Israelites in Egypt, ordered that every male child who might be born to them should be cast into the river, and drowned. But the wife of a man named Levi felt that she could not give up her baby, and for three months she hid him.

When she could hide him no longer, she prepared a basket of rushes, and coated it with pitch, so that it would float upon the river and keep out the water. In this ark she placed her infant son, and hid the ark among the flags and bulrushes on the river-bank, and set the child's sister to watch it.

Now it happened that the daughter of Pharaoh came with her maidens to bathe in the river; and when she saw the basket she sent one of her maids to fetch it. And when she looked at the child he wept, and she had compassion for him, and said, "This is one of the Hebrews' children," she said. Then the child's sister, who was watching, came forward and said to Pharaoh's daughter, "Shall I call to thee a Hebrew woman that she may nurse the child for thee?" And when the princess said, "Go!" she, the little sister of Moses, went and called her own mother, to whom Pharaoh's daughter said, "Take this child and nurse him for me, and I will give thee thy wages." More The Finding of Moses

Reginald Arthur lived at 47 Bedford Square, very close to the British Museum and was greatly inspired by its classical treasures; one of his earliest exhibits was entitled A Bit from the British Museum. Egyptian subjects seem to have been his speciality and among his finest works are The Death of Cleopatra and Joseph Interpreting Pharaoh's Dream. More on Reginald Arthur

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03 works, PORTRAIT OF A LADY, Portrait of Roxelana (Haseki Hurrem Sultan), with Footnotes #150

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

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