Cover image for Titian drawings
Titian drawings
Titian, approximately 1488-1576.
Uniform Title:
Tiziano, corpus dei disegni autografi. English
Publication Information:
New York : Rizzoli, 1990.

Physical Description:
105 pages : illustrations (some color) ; 34 cm
General Note:
Translation of: Tiziano, corpus dei disegni autografi.
Format :


Call Number
Material Type
Home Location
Item Holds
NC257.T58 A4 1989 Adult Non-Fiction Central Closed Stacks-Oversize

On Order

Reviews 2

Publisher's Weekly Review

Because the great Venetian painter Titian seldom did preparatory sketches for his canvases, his drawings are not well-known. Here all 39 of his surviving drawings are assembled in one volume for the first time. From the dynamic sensuality of Embracing Couple to the magnificent mannerist charcoal sketches that dissolve form into ``vibrations of light,'' the book is a treat for connoisseurs. Titian used pen and brown ink for quick, impressionistic studies; he also used black and white chalk on blue paper for soft, plastic effects. His drawings are nearly always painterly, whether in the battered dignity of Head of the Old Man or the sweet soulfulness of Portrait of a Young Woman. Wiel, a specialist in the arts of the Veneto, provides a scholarly introduction and extensive notes on each of the plates, most of which are in color. (Nov.) (c) Copyright PWxyz, LLC. All rights reserved

Choice Review

The last decade has seen a wealth of studies concentrating on Titian's graphic works, and the volume under review is the second book on Titian drawings to be published within the past two years (the other is Harold E. Wethey, Titian and his Drawings, CH, Oct'89). Unfortunately, neither Wethey nor the present author could overcome a fundamental problem--a complete lack of consensus about what constitutes Titian's drawing oeuvre, aside from a tiny core accepted by all scholars. Wiel's choice of 39 drawings inevitably conflicts with that of any other Titian connoisseur; thus the lengthy catalog entries consist largely of summaries of past attributions and highly subjective justifications for the author's selection. Although there are a few intriguing comments about Titian's working practices interspersed in these discussions, much of the sometimes awkwardly translated text will prove interesting only to specialists. On the other hand, this volume is a treat for the eye; all the drawings attributed to Titian are reproduced in full color, and some in their actual size. The most cogent reasons for acquiring this book may be the quality of the illustrations, and as a supplement to other studies of this intractable connoisseurship problem. Recommended for libraries with large holdings in art history.-J. I. Miller, California State University, Long Beach