Titian : Tiziano Vecellio (1488/90-1576), painter of the Venetian school, one of the greatest artists of the Renaissance.
... of a past life there, during the same period. And as a matter of fact, I had seen a portrait there that was the spitting image of Théon! The portrait of one of the doges. It was absolutely (it was a Titian)... absolutely Théon! HIS portrait, you know, as if it had just been done. 5 All those kinds of things came to me just like that, without my looking for them, wanting them, or understanding... château? × Here we have a choice between several chilling faces. Of the five portraits of doges by Titian, that of the doge Antonio Crimani, painted between 1555 and 1576, is one of the few that have remained in the Palazzo Ducale in Venice. Might this be the one? ...
... point where reverses or obverses cease to exist. But that is another story. Indeed, “that vibration” was not there, but something even more bizarre greeted Mirra’s eyes: suddenly, a portrait by Titian She had seen eleven years earlier in Venice (when Mirra "looked” at something, it was inscribed for centuries, like Thebes’ gutters) superimposed itself over Theon's face in a flash. Absolutely Theon... a broad impassive smile, which probably did not fool Theon for a minute. Things were off to a good start. It might be interesting to know which doge it was, but unfortunately I have never seen the Titian in question, nor have I been able to compare it with one of the most striking portraits Mirra has ever drawn—that of Theon. It looks like one of Rembrandt s etchings, or perhaps a Durer figure: a... any color or conquer anything, because it has all the colors of love in its heart and a single delight in everything. We do not know the millions of "chances” that led to this little chance nor which Titian was preparing this conjunction, unless everything is woven from a single thread—a single picture gradually unveiling itself—the motion of one single Body moving through timeless ages with its myriad ...
... here is a very different thing from the splendid and abundant vitality and the power and force of character which we find in an Italian painting, a fresco from Michael Angelo's hand or a portrait by Titian or Tintoretto. The first primitive object of the art of painting is to illustrate life and Nature and at the lowest this becomes a more or less vigorous and original or conventionally faithful reproduction ...
... go more towards the new, towards the truly anti-photographic. And my goodness, they went a little beyond the limit (according to my taste). They began to depreciate Rembrandt─Rembrandt was a dauber, Titian was a dauber, all the great painters of the Italian Renaissance were daubers. You were not to pronounce the name of Raphael, it was a shame. And all the great period of the Italian Renaissance was ...
... especial embodiment in Horace and Racine and our Kalidasa. Michael Angelo in his fury of inspirations seems to have been impelled by Mahakali, while Mahalakshmi sheds her genial favour upon Raphael and Titian; and the meticulous care and the detailed surety in a Tintoretto makes us think of Mahasaraswati's grace. Mahasaraswati too seems to have especially favoured Leonardo da Vinci, although a brooding ...
... of his past lives there, during that very period. In fact, I had seen in Venice a portrait that was the spitting image of Theon! The portrait of one of the doges. Absolutely — it was a painting by Titian —it was absolutely Theon! his portrait, you know, as if it had just been done." But she was really keen on understanding her night experiences, for they had left her puzzled. And the Théons were ...
... delay. By now the reader will have understood who the hot-tempered doge and his daughter were at the beginning of the twentieth century. It seems, besides, that one of the Venetian doges, portrayed by Titian, bears a close resemblance to Max Théon, of whom Mirra drew a remarkable portrait in 1906. 41 In that former Venetian life, and (briefly) in this one too, Mirra had been killed by the Asura of Death ...
... fifty years we’ll perhaps have beautiful things to look at.’ 21 She said that in 1951. A few years later she noted: ‘At one time, when I looked at the paintings of Rembrandt, the paintings of Titian or Tintoretto, the paintings of Renoir, the paintings of Monet, I felt a great aesthetic joy. This aesthetic joy I don’t feel anymore … That subtle something that is the true aesthetic joy is gone ...
... who had placid faces—so content with their pearls, diamonds, laces and satin gowns. My eyes could not escape the enchanting pictures by Rembrandt, Carlo Crivelli, Paul Cezanne, William Hogarth, Titian, Correggio, Anthony Van Dyck, Edouard Manet, Raphael, Watteau, Turner, Reynolds, Auguste Renoir and so forth. I was totally enthralled by the grandeur of the Great Masters; I ran out of all adjectives ...
... behind, which is trying to manifest, which, for the moment, does not manifest, but is strong enough to destroy the past. That is, there was a time when I used to look at the pictures of Rembrandt, of Titian, of Tintoretto, the pictures of Renoir and Monet, I felt a great aesthetic joy. This aesthetic joy I don't feel any more. I have progressed because I follow the whole movement of terrestrial evolution; ...
... Leonardo's studies of the horse were probably the best work done in anatomy of that age; Ludovico and Cesare Borgia chose him, from all Italy, as their engineer; nothing in the paintings of Raphael or Titian or Michaelangelo equals The Last Supper; no painter has matched Leonardo in subtlety of nuance, or in the delicate portrayal of feeling and thought and pensive tenderness; no statue of the time ...
... A Legend & a Symbol, 129n., 163n., 165-6n., 225 Sridhara,21 Sutras, the, 68 TAGORE, 209 Tamas, the, 37,152 Tilak, 2 I Tintoretto, 210 Titan,45-6,66,80,209,226,253,349 Titian, 210 UDDHAVA, 99, 101 Ulysses, 293 Page 433 Upanishads, the, 10, 13, 29, 57, 63, 68, 71, 74, 78n., 83, 120, 143-4, 180, 207, 225, 263, 305 -Aitar_a,80 ...
... especial embodiment in Horace and Racine and our Kalidasa. Michael Angelo in his fury of inspiration seems to have been impelled by Mahakali, while Mahalakshmi sheds her genial favour upon Raphael and Titian; and the meticulous care and the detailed surety in a Tintoretto makes us think of Mahasaraswati's grace. Mahasaraswati too seems to have especially favoured Leonardo da Vinci, although a brooding ...
... gives you a complete distaste for all the other types of painting! Yes, they’ve managed to dispel all my taste for classical painting. There was a time when I looked at the paintings of Rembrandt, Titian or Tintoretto, Renoir or Monet, and I felt a great aesthetic joy. I no longer feel this aesthetic joy; they all seem empty of aesthetic joy. Naturally, I feel none of it when I look at the things they ...
... Would spread upon a field of green-ear'd corn, is the sudden change of sight-suggestion by means of that subtle method, the incongruity of shape, colour, association — as though some touch of Titian's rich gaiety crept into a sombre strangeness a la Rembrandt. Figures from a "brave new world" have brought their hues into the mournful mystery and quiet round an old order declining to its grave. ...
... by the blind and arbitrary will of our contemporaries. 30 She found it absolutely unacceptable that one should be manipulated by this enormous mental conditioning, like bees or even superior Titians: Haven’t you ever found it intolerable that wills from outside can have an influence upon your own will? She asked the Ashram children. But my children, that bothered me even when I was five.' And ...
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