Venus and the Music of Titian

  • Chapters
    • 1. Titian
    • 2. Painting responded to new needs and aspirations of mankind
    • 3. Titian's output
    • 4. Titian did work for Venice
    • 5. Titian painted many a Venus
    • 6. Venus and the Organ-Player
    • 7. Could one imagine a more glaring anachronism ?
    • 8. The lap-dog
    • 9. Venus is not naked
    • 10. The composition of the work
    • 11. The spatial organization
    • 12. The treatment of accessories
    • 13. His grace and charm of ripeness
    • 14. The indentation above the hip
    • 15. Venus of Urbino
    • 16. A chromatic structure
    • 17. The weight and solidity of the nude
    • 18. The evocative music
    • 19. Links his forms
    • 20. A crystalline quality
    • 21. A miracle of rhythm
    • 22. Based on this firm rhythm
    • 23. Christianity had reduced the nude to an abstract symbol
  • ICHIM97
  • René & Jacques-Edouard Berger
This new series, inaugurated by "Venus and the Music of Titian", bears witness that this is so. Further programs will follow under the series title that we once adopted as our fraternal emblem: DISCOVER. A term which, in the realm of art, means to "love better". For the world of light, as we also learned together, includes its share of shadow which, in its translucency or opacity, never disappears altogether. Therefore it can never be fully elucidated: its manifold unity radiates at the heart of its irreducible mystery.
René Berger, July 1997