Two Satyrs in a Landscape, Titian (Tiziano Vecellio) (Italian, Pieve di Cadore ca. 1485/90?–1576 Venice), Pen and brown ink, highlighted with white gouache on fine, off-white laid paper

Two Satyrs in a Landscape

Titian (Tiziano Vecellio) (Italian, Pieve di Cadore ca. 1485/90?–1576 Venice)
ca. 1505–10
Pen and brown ink, highlighted with white gouache on fine, off-white laid paper
8-1/2 x 5-15/16 in. (21.6 x 15.1 cm)
Credit Line:
Rogers Fund, 1999
Accession Number:
Not on view
Form and expression are brought here into full harmony to create one of the great and rare examples of Venetian Renaissance drawing. Only 35 to 40 drawings attributable to Titian are extant, although he was a tirelessly prolific painter. This famous drawing belongs to an early moment in Titian’s work, not far removed from that of the Concert Champêtre (Musée du Louvre, Paris), which was painted around 1509. The concern for rendering both, the spirit and the physical form, of landscape is central to this great period of Venetian art. Titian's use of the pen-and-ink technique is exquisitely pictorial, with varied and freely applied strokes and small dabs of luminous white gouache, lending movement, texture, and tonal unity to the scene. His superb mastery of the pen is everywhere apparent, from the foreground figures built with broadly sculptural effects of chiaroscuro, to the background landscape in which the forms of architecture and nature ineffably dissolve in the distant haze of the horizon. The poetic quality of the drawing is achieved through this subtlety of technique and a certain elusiveness of mood. The two satyrs are entwined, but look away into the distance beyond the astrological disk prominently displayed at the right.

(Carmen C. Bambach, 2014)
Inscription: Annotated in pen and brown ink at the lower right by a later hand, "Lovini Milanese" (Bernardino Luini)
Possibly acquired by Thomas Herbert, 8th Earl of Pembroke (British); Henry Herbert, 10th Earl of Pembroke (British), by 1772-73 (was in Pembroke volume XU.1., dated Nov. 23, 1773); by descent to Reginald Herbert, 15th Earl of Pembroke (British); Pembroke sale, Sotheby's, London (British), July 5-10, 1917, lot 318 (as Venetian school); Henry Oppenheimer (British); his sale, Christie's, London, July 10, 13–14, 1936, lot 42 as Domenico Campagnola; E. and A. Silberman(New York, by 1936); Curtis O. Baer; Yvette Baer Collection; Vendor: Katrin Bellinger Kunsthandel
Montreal Museum of Fine Arts. "Five Centuries of Drawings," October 1953–November 1953.

National Gallery of Art, Washington D.C. "Venetian Drawings from American Collections," September 29, 1974–November 24, 1974.

Kimbell Art Museum, Fort Worth. "Venetian Drawings from American Collections," December 7, 1974–February 9, 1975.

Saint Louis Art Museum. "Venetian Drawings from American Collections," February 6, 1975–April 6, 1975.

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Hans Tietze Tizian: Leben und Werk. vols. 1, 2, Vienna, 1936, cat. no. p. 319, fig. no. 7, pp. 84, 156, 239, ill.

Hans Tietze, Erica Tietze-Conrat "Tizian Studien." Jahrbuch der Kunsthistorischen Sammlungen in Wien. vol. 10, Vienna, 1936, pp. 137-192.

Hans Tietze, Erica Tietze-Conrat The Drawings of the Venetian Painters in the 15th and 16th Centuries. New York, 1944 (reprinted 1970, 1979), cat. no. no. 1948, pp. 322-323.

Erwin Panofsky Problems in Titian, Mostly Iconographic. New York, 1969, pp. 192-193.

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William R. Rearick Il disegno veneziano del Cinquecento. Milan, 2001, pp. 41-44, fig. 17 (as Titian).

Alessandro Ballarin Il camerino delle pitture di Alfonso I. Padua, 2007, p. 374.

Furio Rinaldi "Bernardino Luini 'Mediolanensis', Aurelio Luini e Giovanni Paolo Lomazzo: Disegni firmati tra autografia e documento" Horti Hesperidum, vol. 2, 2014 ('Studi sul disegno italiano tra connoisseurship e collezionismo'). Ed. by Francesco Grisolia, Rome, 2014, p. 12n.