The topic for this research project is to compare Titian’s realistic and ideal female subjects in portraiture.  Generalizing women to find the ideal beauty had long been a theme in art, specifically portraiture.  In the 16^th century, Titian investigated this idea with allegorical female images to represent the abstract notion of beauty with broad titles alongside his commissioned works which were specifically named after the sitter.  Some examples of these works are Woman with a Mirror (1512-15), La Bella (1536-38), Girl with a Fur Coat (ca. 1535), Eleanora Gonzaga della Rovere (1536-38), Empress Isabella d’Este in Black (1534-36), and Giulia Varano, Duchess of Urbino (1545-47).  The position of this paper is that Titian entitled certain female portraits with an individual’s name because the subject was an unambiguous true rendition, while presented other female depictions with a generic allegorical title because he was portraying an ideal beauty.

In order to develop this project, I plan to first define portraiture including its history and purpose for 16^th-century Venetian artists.  Before comparing the portraits and allegories, I will examine Giorgione’s Laura (1506) because this portrayal influenced Titan’s experimentation with realistic and ideal portraiture; identifying who Laura is as a subject is pertinent.  The main point of comparison will be focused around the contrast between the composed and demure portrait, and the attractive qualities of an ideal youthful beauty.  When conducting the comparisons I will explore gender roles to define the 16^th-century ideal woman, the significance of portraiture to family life, and the symbolism of attributes and attire.

Realistic Portrait versus Ideal Allegory: Portrayals of Female Subjects by Titian

Titian entitled certain female portraits with a woman’s  name because the subject was an unambiguous and true rendition, while presented other female depictions with a generic allegorical title because he was portraying an ideal beauty.

– Introduction: The “Exposizione d’Arte Cinematografica” was introduced as an addition to the Venice Biennale in 1932 by the authoritarian regime of Mussolini and subsequently the festival has a dynamic history because of its development during World War II and due to the emphasis on international films, changes in evaluation and awards have changed over the years. My research paper will examine the development of the Venice Film Festival as a result of the totalitarian regime of Mussolini and its relationship to the socio-political setting of Italy during the 1930s-1950s.

– Historical background on the film festival

     – When and how it was established

     – Awards and juries

     – Important film makers

     – Directors who attended LUCE (L’Unione Cinematografica Educativa)

               – Private filmmakers

               – Futurist Cinema- “The Futurist Cinema” Manifesto from September 11, 1916

– Elaboration on the “International” emphasis of the festival

     – How the festival was meant to boast Italian productions

– Competition with other festivals

     – Cannes film festival and the agreement they made with one another in 1946

– Mussolini’s thoughts on cinema

     – Cinecittà: the city Mussolini envisioned would compete with Hollywood’s studios

     – Vittorio Mussolini’s relationship to film and his legacy in the Italian film industry

I’m thinking about researching the Venetian portrait style.  Venice started the oil on canvas tradition, so I am interested in understanding how that influenced artists’ styles. I specifically want to look into Bellini and/or Titian focusing on a few key works.  I will keep Vasari in mind.  The topic of women as unnamed subjects is a possible theme.

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