Venus with a Mirror

c. 1555

Titian

Painter, Venetian, 1488/1490 - 1576

A partially nude woman with pale, peachy skin sits to our left looking into a mirror held up by a nearly nude, winged child to our right in this vertical painting. The woman’s body is angled to our left but she looks across her body to our right. She holds her left hand to her chest, and her right hand grips the fur-lined edge of the scarlet-red, velvet fabric that drapes over that upper arm and around her hips. Her blond hair is coiled up in rows of pearls, and she has dark eyes, a straight nose, and her pale pink lips turn up in a subtle smile. A teardrop pearl earring hangs from the ear we can see, and she wears rings and gold bracelets. The child-like figure to the right stands on a gold-striped cushion facing away from us as he holds up the rectangular, black-framed mirror. He has small silver wings and a sash of golden yellow hangs from one shoulder around the opposite hip. A second child reaches from behind the mirror to hold up a ring of laurel leaves. A forest-green curtain is gathered in the upper left corner and the beige wall beyond falls into shadow to our right.

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Titian’s goddess of love and beauty conjures the sense of touch. Observing her flushed cheek, one can almost feel its warmth. The textures of flesh, jewels, fabric, and fur are exquisitely detailed. In the mirror a cupid holds up to her, she appears not to view herself, but perhaps someone gazing at her.

This is considered the finest surviving version of a composition executed in at least 30 variants by Titian and his workshop. It remained in the artist’s possession until his death, more than 20 years after he painted it. The reason Titian retained a painting of such high quality for so long is uncertain, but this Venus may have been a source of inspiration to those who worked for or visited the artist. For members of the workshop, she may have served as a model for replication, and the painting may have prompted visitors to order similar pictures for themselves.

When he painted this work, Titian reused a canvas that once depicted two figures in three-quarter-length view standing side by side. He rotated the canvas 90 degrees, and it appears that he left exposed the jacket of the male figure in the underlying composition to create the luxurious fur-lined red velvet that now wraps around Venus’s hip.

On View

West Building Main Floor, Gallery 11

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Artwork overview

  • Medium

    oil on canvas

  • Credit Line

    Andrew W. Mellon Collection

  • Dimensions

    overall: 124.5 x 105.5 cm (49 x 41 9/16 in.)
    framed: 157.48 x 139.07 x 10.8 cm (62 x 54 3/4 x 4 1/4 in.)

  • Accession

    1937.1.34

More About this Artwork

A partially nude woman with pale, peachy skin sits to our left looking into a mirror held up by a nearly nude, winged child to our right in this vertical painting. The woman’s body is angled to our left but she looks across her body to our right. She holds her left hand to her chest, and her right hand grips the fur-lined edge of the scarlet-red, velvet fabric that drapes over that upper arm and around her hips. Her blond hair is coiled up in rows of pearls, and she has dark eyes, a straight nose, and her pale pink lips turn up in a subtle smile. A teardrop pearl earring hangs from the ear we can see, and she wears rings and gold bracelets. The child-like figure to the right stands on a gold-striped cushion facing away from us as he holds up the rectangular, black-framed mirror. He has small silver wings and a sash of golden yellow hangs from one shoulder around the opposite hip. A second child reaches from behind the mirror to hold up a ring of laurel leaves. A forest-green curtain is gathered in the upper left corner and the beige wall beyond falls into shadow to our right.

Scholarly Article:  Italian Paintings of the Sixteenth Century: Venus with a Mirror, c. 1555

Scholarly Series:  Italian Paintings of the Sixteenth Century

Artwork history & notes

Provenance

The artist [c. 1490-1576], Venice; by inheritance to his son, Pomponio Vecellio, Venice; sold 27 October 1581 with the contents of Titian's house to Cristoforo Barbarigo [1544-1614], Venice; by inheritance to his son, Andrea Barbarigo;[1] by inheritance in the Barbarigo family, Palazzo Barbarigo della Terrazza, Venice;[2] sold 1850 by the heirs of Giovanni di Alvise Barbarigo [d. 1843] to Czar Nicholas I of Russia [1796-1855], Saint Petersburg;[3] Imperial Hermitage Gallery, St. Petersburg;[4] purchased April 1931 through (Matthiesen Gallery, Berlin; P. & D. Colnaghi & Co., London; and M. Knoedler & Co., New York) by Andrew W. Mellon, Pittsburgh and Washington, D.C.; deeded 5 June 1931 to The A.W. Mellon Educational and Charitable Trust, Pittsburgh;[5] gift 1937 to NGA.
[1] See Giuseppe Cardorin, Dello amore ai veneziani di Tiziano Vecellio delle sue case in Cadore e in Venezia, Venice, 1833: 77, 98-101, quoting the purchase document of October 1581 and Barbarigo’s will of March 1600, in which the Venus is mentioned as one of four pictures by Titian left to his heirs. See also Simona Savini Branca, Il collezionismo veneziano del Seicento, Padua, 1965: 47, 65, 183-186; Charles Hope, Titian, London, 1980: 167; Herbert Siebenhüner, Der Palazzo Barbarigo della Terrazza in Venedig und seine Tizian-Sammlung, Munich, 1981: 28; Jaynie Anderson, “Titian’s Unfinished ‘Portrait of a Patrician Woman and Her Daughter’ from the Barbarigo Collection, Venice,” The Burlington Magazine 144 (2002): 671, 672, 676; Lionello Puppi, Su Tiziano, Milan, 2004: 77; Charles Hope, “Tizians Familie und die Zerstreuung seines Nachlasses,” in Der späte Tizian und die Sinnlichkeit der Malerei, ed. Sylvia Ferino-Pagden, exh. cat. Kunsthistorisches Museum, Vienna; Gallerie dell'Accademia, Venice, Vienna, 2007: 35 (English edition: “Titian’s Family and the Dispersal of His Estate,” in Late Titian and the Sensuality of Painting, Venice, 2008: 37).
[2] The picture is recorded in the Palazzo Barbarigo by Carlo Ridolfi, Le maraviglie dell’arte, overo Le vite de gl'illustri pittori veneti, e dello stato, ed. Detlev von Hadeln, 2 vols., Berlin, 1914–1924 (originally Venice, 1648): 1(1914):200 (“Gli Signori Barbarighi di San Polo possiedono . . . vna Venere sino à ginocchi, che si vagheggia nello specchio con due Amori”); Marco Boschini, La carta del navegar pitoresco (1660), ed. Anna Pallucchini, Venice, 1966 (originally 1660): 664; Francesco Sansovino, Venetia città nobilissima et singolare (1581) . . . Con aggiunta di tutte le cose notabili della stessa città, fatte et occorse dall’anno 1580 fino al presente 1663 da D. Giustiniano Martinioni, Venice, 1663: 374; Arthur Young, Travels in France & Italy during the Years 1787, 1788, and 1789, London, 1915: 255; Abraham Hume, Notices of the Life and Works of Titian, London, 1829: 55, xxxix; Giuseppe Cadorin, Dello amore ai Veneziani di Tiziano Vecellio, Venice, 1833: 77, 98–101; and Gian Carlo Bevilacqua, Insigne Pinacoteca della nobile veneta famiglia barbarigo della Terrazza, Venice, 1845: 65, 67.
[3] Cesare Augusto Levi, Le collezioni veneziane d’arte e d’antichità dal secolo XIV ai nostri giorni, Venice, 1900: 281–289; Herbert Siebenhüner, Der Palazzo Barbarigo della Terrazza in Venedig und seine Tizian-Sammlung, Munich, 1981: 26.
[4] Eremitage Impérial: Catalogue de la Galerie des Tableaux, Saint Petersburg, 1863: 26, no. 99, and subsequent Hermitage catalogues.
[5] Mellon purchase date and date deeded to Mellon Trust is according to Mellon collection records in NGA curatorial files and David Finley's notebook (donated to the National Gallery of Art in 1977, now in the Gallery Archives).

Associated Names

Exhibition History

1979

  • The Golden Century of Venetian Painting, Los Angeles County Museum of Art, 1979-1980, no. 21, repro.

1990

  • Tiziano [NGA title: Titian: Prince of Painters], Palazzo Ducale, Venice; National Gallery of Art, Washington, 1990-1991, no. 51, repro.

1993

  • Le siècle de Titien: L'âge d'or de la peinture à Venise, Galeries du Grand Palais, Paris, 1993, no. 178, repro., as Vénus à sa toilette.

2002

  • Tiziano / Rubens. Venus ante el espejo, Fundación Colección Thyssen-Bornemisza, Madrid, 2002-2003, no. 2, repro.

  • Nicholas I and the New Hermitage, The State Hermitage Museum, St. Petersburg, Russia, 2002, unnumbered catalogue.

2007

  • Der späte Tizian und die Sinnlichkeit der Malerei / Tiziano maturo e la sensualità della pittura, Kunsthistorisches Museum, Vienna; Gallerie dell'Accademia, Venice, 2007-2008, no. 2.5, repro. (shown only in Vienna).

2009

  • Titian, Tintoretto, Veronese: Rivals in Renaissance Venice, Museum of Fine Arts, Boston; Musée du Louvre, Paris, 2009-2010, no. 30 (no. 29 in French catalogue), repro.

Bibliography

1663

  • Sansovino, Francesco. Venetia città nobilissima et singolare (1581)...Con aggiunta di tutte le cose notabili della stessa città, fatte et occorse dall’anno 1580 fino al presente 1663 da D. Giustiniano Martinioni. Venice, 1663: 374.

1829

  • Hume, Abraham. Notices of the Life and Works of Titian. London, 1829: 55, xxxix.

1833

  • Cadorin, Giuseppe. Dello Amore ai Veneziani di Tiziano Vecellio. Venice, 1833: 77, 98-101.

1845

  • Bevilacqua, Gian Carlo. Insigne Pinacoteca della nobile veneta famiglia barbarigo della Terrazza. Venice, 1845

1863

  • Eremitage Impérial. Catalogue de la Galerie des Tableaux. St Petersburg, 1863: 26 no. 99.

1864

  • Viardot, Louis. “Le Musée de l’Ermitage a Saint Pétersbourg et son nouveau catalogue.” Gazette des Beaux-Arts 17 (1864): 322.

  • Waagen, Gustav Friedrich. Die Gemäldesammlung in der kaiserlichen Ermitage zu St. Petersburg nebst Bemerkungen über andere dortige Kunstsammlungen. Munich, 1864: 62.

1869

  • Eremitage Impérial. Catalogue de la Galerie des Tableaux. Les Écoles d’Italie et d’Espagne. St. Petersburg, 1869: 42-43.

1877

  • Crowe, Joseph Archer, and Giovanni Battista Cavalcaselle. Titian, His Life and Times. 2 vols. London, 1877: 2:334-336.

1886

  • Lafenestre, Georges. La vie et l’oeuvre de Titien. Paris, 1886: 234.

1891

  • Brüiningk, E., and Andrei Somof. Eremitage Impérial. Catalogue de la Galerie des Tableaux. Les Écoles d’Italie et d’Espagne. St Petersburg, 1891: 161-162 no. 99.

1897

  • Knackfuss, Hermann. Tizian. Bielefeld and Leipzig, 1897: 140.

  • Stillman, W. J. Venus and Apollo in Painting and Sculpture. London, 1897: 36.

1898

  • Phillips, Claude. The Later Work of Titian. London, 1898: 77, 90.

1899

  • Phillips, Claude. “The Picture Gallery of the Hermitage.” The North American Review 169, no. 4 (October 1899): 469.

1900

  • Gronau, Georg. Tizian. Berlin, 1900: 191.

  • Levi, Cesare Augusto. Le collezioni veneziane d’arte e d’antichità dal secolo XIV ai nostri giorni. Venice, 1900: 288.

1901

  • Venturi, Adolfo. Storia dell’arte italiana. 11 vols. Milan, 1901-1940: 9, part 3(1928):327-331.

1904

  • Fischel, Oskar. Tizian: Des Meisters Gemälde. Stuttgart [u.a.], 1904: 147.

  • Gronau, Georg. Titian. London, 1904: 197-198, 301.

1905

  • Miles, Henry. The Later Work of Titian. London, 1905: xxvii, 45.

  • Reinach, Salomon. Répertoire de peintures du moyen âge et de la Renaissance (1280-1580). 6 vols. Paris, 1905-1923: 6(1923):273.

1906

  • Kilényi, Hugo von. Ein wiedergefundenes Bild des Tizian. Budapest, 1906.

1907

  • Schmidt, James. “Les Toilette de Vénus du Titien: L’orignal et les répliques.” Starye Gody pt. 1 (1907): 216–222.

  • Hetzer, Theodor. “Vecellio, Tiziano.” In Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart. Edited by Ulrich Thieme, Felix Becker, and Hans Vollmer. 37 vols. Leipzig, 1907-1950: 34(1939):166.

1909

  • Wrangell, Baron Nicolas. Les Chefs-d'Oeuvre de la Galérie de Tableaux de l'Hermitage Impérial à St-Pétersbourg. London, 1909: vii, repro. 21.

  • Lafenestre, Georges. La vie et l’oeuvre de Titien. Rev. ed. Paris, 1909: 227, 278, 296-297.

1910

  • Ricketts, Charles. Titian. London, 1910: 122.

1911

  • Benois, Alexandre. Guide to the Hermitage Gallery (in Russian). St. Petersburg, 1911: 52-53.

1914

  • Ridolfi, Carlo. Le maraviglie dell’arte, overo Le vite de gl'illustri pittori veneti, e dello Stato (Venice, 1648). Edited by Detlev von Hadeln. 2 vols. Berlin, 1914-1924: 1(1914):200.

1915

  • Young, Arthur. Travels in France & Italy during the Years 1787, 1788 and 1789. London, 1915: 255.

1918

  • Basch, Victor. Titien. Paris, 1918: 214-216.

1919

  • Hourticq, Louis. La Jeunesse de Titien. Paris, 1919: 31.

1923

  • Weiner, Peter Paul von. Meisterwerke der Gemäldesammlung in der Eremitage zu Petrograd. Rev. ed. Munich, 1923: 11, 326.

1924

  • Bercken, Erich von der. “Some Unpublished Works by Tintoretto and Titian.” The Burlington Magazine for Connoisseurs 44 (March 1924): 113.

1926

  • Venturi, Lionello. La Collezione Gualino. Turin and Rome, 1926: pl. 39.

1929

  • Poglayen-Neuwall, Stephan. “Eine tizianeske Toilette der Venus aus dem Cranach-Kreis.” Münchner Jahrbuch der Bildenden Kunst 6, no. 2 (1929): 167-199.

1932

  • Berenson, Bernard. Italian Pictures of the Renaissance: A List of the Principal Artists and Their Works with an Index of Places. Oxford, 1932: 571.

1933

  • Suida, Wilhelm. Tizian. Zürich and Leipzig, 1933: 116, 171.

1934

  • Poglayen-Neuwall, Stephan. “Titian’s Pictures of the Toilet of Venus and Their Copies.” The Art Bulletin 16 (1934): 358-384.

1935

  • Tietze, Hans. Meisterwerke europäischer Malerei in Amerika. Vienna, 1935: 87, repro. (English ed., Masterpieces of European Painting in America. New York, 1939: 88, repro.).

  • Hetzer, Theodor. Tizian: Geschichte seiner Farbe. Frankfurt-am-Main, 1935: 147, 163.

  • Mostra di Tiziano. Exh. cat. Palazzo Pesaro Papafava, Venice, 1935: 163.

1936

  • Tietze, Hans. Tizian: Leben und Werk. 2 vols. Vienna, 1936: 1:237, 314.

1937

  • Cortissoz, Royal. An Introduction to the Mellon Collection. Boston, 1937: repro. 8.

  • Jewell, Edward Alden. "Mellon's Gift." Magazine of Art 30, no. 2 (February 1937): 82.

1941

  • Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 196, no. 34.

  • Wulff, Oskar. “Farbe, Licht und Schatten in Tizians Bildgestaltung.” Jahrbuch der preussischen Kunstsammlungen 62 (1941): 173, 194, 197, 199.

  • Stepanow, Giovanni. Tizian. Leipzig, 1941: xxxix.

1942

  • Book of Illustrations. National Gallery of Art, Washington, 1942: 239, repro. 199.

1944

  • Pallucchini, Rodolfo. La pittura veneziana del Cinquecento. 2 vols. Novara, 1944: 1:xxiv.

1946

  • Favorite Paintings from the National Gallery of Art Washington, D.C.. New York, 1946: 33-35, color repro.

  • Riggs, Arthur Stanley. Titian the Magnificent and the Venice of His Day. New York, 1946: 290, 324-326.

1947

  • Poglayen-Neuwall, Stephan. “The Venus of the Ca’ d’Oro and the Origin of the Chief Types of the Venus at the Mirror from the Workshop of Titian.” The Art Bulletin 29 (1947): 195-196.

1949

  • Paintings and Sculpture from the Mellon Collection. National Gallery of Art, Washington, 1949 (reprinted 1953 and 1958): 38, repro.

1950

  • Tietze, Hans. Titian. The Paintings and Drawings. London, 1950: 204 no. 218.

1951

  • Einstein, Lewis. Looking at Italian Pictures in the National Gallery of Art. Washington, 1951: 84-86, repro.

  • Hartlaub, Gustav F. Zauber des Spiegels: Geschichte und Bedeutung des Spiegels in der Kunst. Munich, 1951: 79-80, 107-108, 218.

1952

  • Cairns, Huntington, and John Walker, eds., Great Paintings from the National Gallery of Art. New York, 1952: 60, color repro.

  • Waterhouse, Ellis. “Paintings from Venice for Sevententh-Century England.” Italian Studies 7 (1952): 12.

1953

  • Pallucchini, Rodolfo. Tiziano. Lezioni di storia dell’arte. 2 vols. Bologna, 1953-1954: 2:63-64.

1955

  • Dell’Acqua, Gian Alberto. Tiziano. Milan, 1955: 127.

1956

  • Walker, John. National Gallery of Art, Washington. New York, 1956: 28, color repro.

1957

  • Shapley, Fern Rusk. Comparisons in Art: A Companion to the National Gallery of Art, Washington, DC. London, 1957 (reprinted 1959): pl. 47.

  • Berenson, Bernard. Italian Pictures of the Renaissance. Venetian School. 2 vols. London, 1957: 1:192.

1958

  • Tervarent, Guy de. Attributs et symboles dans l'art profane, 1450-1600. 3 vols. Geneva, 1958-1964: 1(1958):324.

1959

  • Morassi, Antonio. “Titian.” In Encyclopedia of World Art. 17+ vols. London, 1959+: 14(1967):col. 147.

1960

  • The National Gallery of Art and Its Collections. Foreword by Perry B. Cott and notes by Otto Stelzer. National Gallery of Art, Washington (undated, 1960s): 26, color repro. 12.

  • Shapley, Fern Rusk. Later Italian Painting in the National Gallery of Art. Washington, D.C., 1960 (Booklet Number Six in Ten Schools of Painting in the National Gallery of Art, Washington, D.C.): 30, color repro.

  • Valcanover, Francesco. Tutta la pittura di Tiziano. 2 vols. Milan, 1960: 2:39-40.

1963

  • Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 148, repro.

  • Kennedy, Ruth Wedgwood. Novelty and Tradition in Titian’s Art. Northampton, Mass., 1963: 6, 20 n. 29.

1964

  • Savini Branca, Simona. Il collezionismo veneziano del Seicento. Padua, 1964: 186.

1965

  • Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 129.

1966

  • Cairns, Huntington, and John Walker, eds. A Pageant of Painting from the National Gallery of Art. 2 vols. New York, 1966: 1:172, color repro.

  • Walton, William. "Parnassus on Potomac." Art News 65 (March 1966): 38.

  • Boschini, Marco. La Carta del Navegar Pitoresco (1660). Edited by Anna Pallucchini. Venice, 1966: 664.

1968

  • National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 116, repro.

  • Gandolfo, Giampaolo et al. National Gallery of Art, Washington. Great Museums of the World. New York, 1968: 46, 48-49, color repro.

1969

  • Pallucchini, Rodolfo. Tiziano. 2 vols. Florence, 1969: 1:143, 302.

  • Valcanover, Francesco. L’opera completa di Tiziano. Milan, 1969: 124-125 no. 384.

  • Wethey, Harold. The Paintings of Titian. 3 vols. London, 1969-1975: 3(1975):26, 67-70, 200-201.

1971

  • Freedberg, Sydney J. Painting in Italy 1500-1600. Harmondsworth, 1971, rev. ed. 1975: 508-509.

  • Pallucchini, Rodolfo. “Una nuova Pomona di Tiziano.” Pantheon 29 (1971): 114.

1972

  • Shapley, Fern Rusk. "Titian's Venus with a Mirror." Studies in the History of Art v.4 (1971-72):93-105, repro.

  • Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972: 203, 476, 645.

1973

  • Klesse, Brigitte. Katalog der italienischen, französischen and spanischen Gemälde bis 1800 im Wallraf-Richartz-Museum. Cologne, 1973: 131-135.

  • Moretti, Lino, ed. G. B. Cavalcaselle. Disegni da Antichi Maestri. Exh. cat. Fondazione Giorgio Cini, Venice. Vicenza, 1973: 113.

  • Finley, David Edward. A Standard of Excellence: Andrew W. Mellon Founds the National Gallery of Art at Washington. Washington, 1973: 22, 28 repro.

1974

  • Faldi, Italo. “Dipinti di figure dal rinascimento al neoclassicismo.” In L’Accademia Nazionale de San Luca. Rome, 1974: 96.

1975

  • European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 344, repro.

1976

  • Krsek, Ivo. Tizian. Prague, 1976: 69.

1977

  • Pallucchini, Rodolfo. Profilo di Tiziano. Florence, 1977: 46.

  • Bialostocki, Jan. “Man and Mirror in Painting: Reality and Transience.” In Studies in Late Medieval and Renaissance Painting in Honor of Millard Meiss. Edited by Irving Lavin and John Plummer. New York, 1977: 70.

  • Fomichova, Tamara. “Lo sviluppo compositivo della Venere allo Speccio con due Amorini nell’opera di Tiziano e la copia dell’Eremitage.” Arte Veneta 31 (1977): 195-199.

1978

  • Hadeln, Detlev von. Paolo Veronese. Florence, 1978: 84.

  • Rosand, David. Titian. New York, 1978: 33-34.

1979

  • Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. Washington, 1979: 1:476-480; 2:pl. 341, 341A,B,C.

  • Watson, Ross. The National Gallery of Art, Washington. New York, 1979: 39, pl. 24.

  • Pignatti, Terisio. Golden Century of Venetian Painting. Exh. cat. Los Angeles County Museum of Art, Los Angeles, 1979: 76-77.

1980

  • Braunfels, Wolfgang. “I quadri di Tiziano nello studio a Biri Grande (1530–1576).” In Tiziano e Venezia: Convegno internazionale di studi (1976). Vicenza, 1980: 409.

  • Fasolo, Ugo. Titian. Florence, 1980: 69.

  • Guillaume, Marguerite. Peintures italiennes: Catalogue raisonné du Musée des Beaux-Arts de Dijon. Dijon, 1980: 85.

  • Heinemann, Fritz. “La bottega di Tiziano.” In Tiziano e Venezia: convegno internazionale di studi (1976). Vicenza, 1980: 435.

  • Hope, Charles. Titian. London, 1980: 149-150, 158-160, 167, 170.

1981

  • Siebenhüner, Herbert. Der Palazzo Barbarigo della Terrazza in Venedig und seine Tizian-Sammlung. Munich, 1981: 26, 28.

1982

  • Held, Julius. “Rubens and Titian.” In Titian: His World and His Legacy. Edited by David Rosand. New York, 1982: 291.

1983

  • Goodman-Soellner, Elise. “A Poetic Interpretation of the ‘Lady at her Toilette’ Theme in Sixteenth-Century Painting.” Sixteenth Century Journal 14 (1983): 434, 440-441.

  • Shearman, John. The Early Italian Pictures in the Collection of Her Majesty the Queen. Cambridge, 1983: 268.

1984

  • Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 208, no. 253, color repro.

  • Ingenhoff-Danhäuser, Monika. Maria Magdalena: Heilige und Sünderin in der italienischen Renaissance. Tübingen, 1984: 65.

1985

  • European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 395, repro.

1986

  • Gemäldegalerie Berlin: Gesamtverzeichnis der Gemälde. Berlin, 1986: 75, 456.

  • Borghero, Gertrude, ed. Thyssen-Bornemisza Collection. Catalogue Raisonné of the Exhibited Works of Art. Milan, 1986: 273.

  • Valcanover, Francesco. Ca d’Oro: The Giorgio Franchetti Gallery. Translated by Michael Langley. Milan, 1986: 47.

1987

  • Hart Nibbrig, Christiaan. Spiegelschrift: Spekulationen über Malerei und Literatur. Frankfurt, 1987: 18.

  • Wethey, Harold E. Titian and His Drawings, with Reference to Giorgione and Some Close Contemporaries. Princeton, 1987: 88 n. 32.

1988

  • Brown, Beverley Louise, and Arthur K. Wheelock, Jr. Masterworks from Munich: Sixteenth- to Eighteenth-Century Paintings from the Alte Pinakothek. Exh. cat. National Gallery of Art, Washington, 1988: 117-118.

  • Hope, Charles, “La produzione pittorica di Tiziano per gli Asburgo”. In Venezia e la Spagna. Milan, 1988: 64.

  • Rearick, W. R. The Art of Paolo Veronese, 1528-1588. Exh. cat. National Gallery of Art, Washington. Cambridge, 1988: 172.

1989

  • Tiziano, le lettere. Edited by Clemente Gandini from materials
    compiled by Celso Fabbro. 2nd ed. Cadore, 1989: 269.

1990

  • Titian, Prince of Painters. Exh. cat. Palazzo Ducale, Venice; National Gallery of Art, Washington. Venice, 1990: 302-304.

1991

  • Kopper, Philip. America's National Gallery of Art: A Gift to the Nation. New York, 1991: 91, 94, color repro.

  • Gingold, Diane J., and Elizabeth A.C. Weil. The Corporate Patron. New York, 1991: 90-91, color repro.

1992

  • National Gallery of Art. National Gallery of Art, Washington. New York, 1992: 102, repro.

  • Fomichova, Tamara. The Hermitage Catalogue of West European Painting, Vol. 2: Venetian Painting of the Fourteenth to Eighteenth Centuries. Florence, 1992: 352.

  • Shearman, John. Only Connect...Art and the Spectator in the Italian Renaissance. Princeton, 1992: 228.

1993

  • Echols, Robert. "Titian's Venetian Soffitti: Sources and Transformations." Studies in the History of Art 45 (1993): 20.

  • Oberhuber, Konrad. “La mostra di Tiziano a Venezia.” Arte Veneta 44 (1993): 80-81.

  • Le Siècle de Titien. L’Âge d’Or de la Peinture à Venise. Exh. cat. Grand Palais, Paris, 1993: 534-535.

1994

  • Sheard, Wendy Stedman. “Le Siècle de Titien.” The Art Journal 53 (Spring 1994): 89.

1995

  • Stokstad, Marilyn. Art History. New York, 1995: 706, fig. 18.28.

  • Brevaglieri, Sabina. “Tiziano, le Dame con il Piatto e l’allegoria matrimoniale.” Venezia Cinquecento 5, no. 10 (1995): 134-135.

1997

  • Goffen, Rona. Titian's Women. New Haven and London, 1997: 133-139, no. 79, repro.

  • Santore, Cathy. "The Tools of Venus." in Renaissance Studies 11, no. 3. The Society for Renaissance Studies, Oxford University Press, 1997: 185, repro. no. 7.

  • Ekserdjian, David. Correggio. New Haven and London, 1997: 269-270.

  • Goffen, Rona. “Sex, Space and Social History in Titian’s Venus of Urbino.” In Titian’s Venus of Urbino. Edited by Rona Goffen. Cambridge, 1997: 75.

  • Pardo, Mary. “Veiling the Venus of Urbino.” In Titian’s Venus of Urbino. Edited by Rona Goffen. Cambridge, 1997: 122-123.

  • Schäpers, Petra. Die junge Frau bei der Toilette: Ein Bildthema im venezianischen Cinquecento. Frankfurt, 1997: 111-124.

1998

  • Apostolos-Cappadona, Diana. “Toilet Scenes." In Encyclopedia of Comparative Iconography: Themes Depicted in Works of Art. Edited by Helene E. Roberts. 2 vols. Chicago, 1998: 2:873.

  • Medievalia et Humanistica: Studies in Medieval and Renaissance Culture. [Vol. 25]. Edited by Paul Maurice Clogan. Rowman & Littlefield Publishers, Inc., 1998: 58-61, repro. no. 2.

  • Roberts, Helene E., ed. Encyclopedia of Comparative Iconography: Themes Depicted in Works of Art. 2 vols. Chicago, 1998: 1:324, 326.

  • Cheney, Liana de Girolami. "Love and Death." In Encyclopedia of Comparative Iconography: Themes Depicted in Works of Art, edited by Helene E. Roberts. 2 vols. Chicago, 1998: 1:523.

  • Shefer, Elaine. "Mirror/Reflection." In Encyclopedia of Comparative Iconography: Themes Depicted in Works of Art, edited by Helene E. Roberts. 2 vols. Chicago, 1998: 2:602.

1999

  • Valcanover, Francesco. Tiziano: I suoi pennelli sempre partorirono espressioni di vita. Florence, 1999: 67-71, 267.

2001

  • Pedrocco, Filippo. Titian: The Complete Paintings. London, 2001: 59, 67, 261, no. 218, repro.

2002

  • Anderson, Jaynie. “Titian’s Unfinished ‘Portrait of a Patrician Woman and Her Daughter’ from the Barbarigo Collection, Venice.” The Burlington Magazine 144 (2002): 671, 672, figs. 28 and 29.

  • Prater, Andreas. Venus at Her Mirror: Velázquez and the Art of Nude Painting. Munich, 2002: 21.

  • Checa Cremades, Fernando. Titian–Rubens: Venus ante el espejo. Exh. cat. Museo Thyssen-Bornemisza, Madrid, 2002: 11-85.

2003

  • Freedman, Luba. The Revival of the Olympian Gods in Renaissance Art. Cambridge, 2003: 155, 190, 208.

2004

  • Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 100-101, no. 77, color repro.

  • Adams, Laurie Schneider. “Iconographic Aspects of the Gaze in some Paintings by Titian.” In The Cambridge Companion to Titian. Edited by Patricia Meilman. Cambridge, 2004: 232-233.

  • Puppi, Lionello. Su Tiziano. Milan, 2004: 77.

2006

  • Frank, Mary Engel. “'Donne attempate': Women of a Certain Age in Sixteenth-Century Venetian Art.” 2 vols. Ph.D. diss., Princeton University, 2006: 1:64-106, 303, 305, 306, fig. 46, 67, 77.

  • Tagliaferro, Giorgio. “La bottega di Tiziano: Un percorso critico.” Studi Tizianeschi 4 (2006): 45.

2007

  • Cranston, Jodi. “Theorizing Materiality: Titian’s Flaying of Marsyas.” In Titian: Materiality, Likeness, Istoria. Edited by Joanna Woods-Marsden. Turnhout, 2007: 15.

  • Humfrey, Peter. Titian: The Complete Paintings. Ghent and New York, 2007: 260.

  • Artemieva, Irina. “Die Venus vor dem Spiegel Barbarigo und der Dialogo della Pittura von Lodovico Dolce.” In Der späte Tizian und die Sinnlichkeit der Malerei. Edited by Sylvia Ferino-Pagden. Exh. cat. Kunsthistorisches Museum, Vienna; Gallerie dell'Accademia, Venice. Vienna, 2007: 224–231, 246-248.

  • Ferino-Pagden, Sylvia, ed. Der späte Tizian und die Sinnlichkeit der Malerei. Exh. cat. Kunsthistorisches Museum, Vienna; Gallerie dell'Accademia, Venice. Vienna, 2007: 248.

2008

  • Dal Pozzolo, Enrico Maria. Colori d’Amore. Parole, Gesti e Carezze nella Pitture Veneziana del Cinquecento. Treviso, 2008: 110, 129-131.

  • Hochmann, Michel. “Le collezioni veneziane nel Rinasacimento: Storia e storiografia.” In Il collezionismo d’arte a Venezia: Dalle origini al Cinquecento. Edited by Michel Hochmann, Rosella Lauber, and Stefania Mason. Venice, 2008: 17, 37.

2009

  • Odom, Anne, and Wendy R. Salmond, eds. Treasures into Tractors: The Selling of Russia's Cultural Heritage, 1918-1938. Washington, 2009: 82, 91, 106 n. 84, 106 n. 89, 131, 135 n. 62, repro.

  • Ilchman, Frederick, et al. Titian, Tintoretto, Veronese: Rivals in Renaissance Venice. Exh. cat. Museum of Fine Arts, Boston; Musée du Louvre, Paris. Boston, 2009: 184-185.

  • Ilchman, Frederick, et al. Titien, Tintoret, Véronèse: Rivalités à Venise. Exh. cat., Musée du Louvre, Paris, 2009: 226-228.

  • Tagliaferro, Giorgio, and Bernard Aikema, with Matteo Mancini and Andrew John. Le botteghe di Tiziano. Florence, 2009: 32, 261.

2010

  • Cranston, Jodi. The Muddied Mirror: Materiality and Figuration in Titian’s Later Paintings. University Park, PA, 2010: 17, 21-31, 38-39, 48-49, 127.

2012

  • Paglia, Camille. Glittering Images: A Journey through Art from Egypt to Star Wars. New York, 2012: 48-51, color repro.

  • Reist, Inge. "The Classical Tradition: Mythology and Allegory." In Paolo Veronese: A Master and His Workshop in Renaissance Venice. Edited by Virginia Brilliant. Exh. cat. John and Mable Ringling Museum of Art, Sarasota. London and Sarasota, 2012: 117, 118, color fig. 43.

  • Gentili, Augusto. Tiziano. Milan, 2012: 253-255.

  • Hale, Sheila. Titian: His Life. London, 2012: 559-560, 731.

2013

  • Semyonova, Natalya, and Nicolas V. Iljine, eds. Selling Russia's Treasures: The Soviet Trade in Nationalized Art 1917-1938. New York and London, 2013: 138, 139, 200, repro.

2014

  • Mims, Bryan. "Asheville's Fortress of Art." Our State Down Home in North Carolina (1 October 2014): 40-42, 44, repro.

  • Grasso, Monica. Seguendo Tiziano: Viaggio nel ’500 sulle orme di un grande maestro. Rome, 2014: 91-92.

  • Humfrey, Peter. “The Chronology of Titian’s Versions of the Venus with a Mirror and the Lost Venus for the Emperor Charles V.” In Artistic Practices and Cultural Transfer in Early Modern Italy: Essays in Honour of Deborah Howard. Edited by Nabahat Avcioglu and Allison Sherman. Farnham and Burlington, VT, 2014: 221-232.

2016

  • Jaques, Susan. The Empress of Art: Catherine the Great and the Transformation of Russia. New York, 2016: 398.

2017

  • Serres, Karen. "Duveen's Italian framemaker, Ferruccio Vannoni." The Burlington Magazine 159, no. 1370 (May 2017): 374 n. 45.

2019

  • Linden, Diana L. "'In Honor of Dr. Martin Luther King': White Privilege and White Masks in William Christopher's Paintings of 1963." American Art 33, no. 3 (Fall 2019): 67, color fig. 9

Wikidata ID

Q7920648

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