Читать книгу A Popular Handbook to the National Gallery, Volume I, Foreign Schools - National Gallery (Great Britain) - Страница 53

Titian (Venetian: 1477-1576). See 4.

Venus is endeavouring to detain Adonis from the chase; but the sun is up (see his chariot in the sky) and the young huntsman is eager to be off with his hounds and his spear. The enamoured goddess caresses him, but it will be in vain. For Cupid, the god of love, is not there: he is asleep and at a distance, with his bow and quiver hanging on a tree; and all the blandishments of beauty, unaided by love, are as naught.

This picture (formerly in the Colonna Palace at Rome) is probably a studio-repetition of an original which is now at Madrid, and which was painted by Titian for Philip II. of Spain, then King-Consort of England. It was forwarded to him in London in 1554. The picture is thus forty years later than the "Bacchus and Ariadne," and critics find in it not unjustly a lack of the finer poetry which characterises the earlier classical works of the master. "That the aim of the artist was not a very high one, or this poesia very near to his heart, is demonstrated by the curiously material fashion in which he recommends it to his royal patron. He says that 'if in the Danaë (now at Naples) the forms were to be seen front-wise, here was occasion to look at them from a contrary direction – a pleasant variety for the ornament of a camerino.' Our worldly-wise painter evidently knew that material allurements as well as supreme art were necessary to captivate Philip" (Claude Philips: The Later Work of Titian, p. 80).