Answer:
Titian (born Tiziano Vecellio in <em>Pieve di Cadore</em> then in the <em>Republic of</em> <em>Venice</em> in the 1480’s (c. 1488-1576)) was known for painting not only <em>portraits</em>, but also for painting everything from <em>mythology</em> to <em>religious</em> <em>paintings</em>. Regarding your question, he painted a lot of portraits because he was supported and recognized by wealthy patrons. He was a court painter, which means he created portraits of the rich and powerful (members of a royal family) on a fixed fee and on an exclusive basis.
Explanation:
Titian became the most famous painter in 16th century Venice and the greatest member of the Venetian School. He dominated field of painting for <em>sixty</em> years in Venice and northern Italy and influenced <em>Veronese</em> and <em>Tintoretto</em>. European monarchs competed for his services. After apprenticing to Giovanni Bellini and Gentile, Titian then imitated the style of <em>Giorgione</em> with whom he worked for couple years. Titian became painter for the wealthy Venetian academic circles and close friend of<em> Pietro Aretino</em> whose writings promoted Titian’s reputation.
He was known for his stimulated use of color and for loose, energetic brushwork that made his pictures appear to be alive. His work also showed a gift for demonstrating human personality.
Titian portrayed the resemblance of magnificent persons without falsification and by remaining truthful to his sitters, and himself. Titian never tried to depict the ideal man and always stayed in the adjacency of the real human being he was representing. Titian’s initial concern was with man living within his own environment.
The patrons of Titian did not only seek pictorial records but commissioned him because they admired them as works of art.
Titian’s career can be separated into phases from which an understanding of his growth as an artist can be acquired:
1. The period of his Beginnings and Training (1484-1520),
2. His Artistic Development (1520-1540),
3. His period of Celebrity and Power (1540-1555),
4. His late period, his Final Achievement (1556-1576), where in the loneliness and isolation of old age he was able to dismiss all artistic current compromise. Not a time of refusal or decay, but a time of accomplishment when he was able to ignore the preferences of patrons and his art became one of pure intentional expression.
