Plotting the Triumphal Arch in Titian's Tomb.
The Object as Event.
Leo S. Olschki: Florence.
On 17 August 1852 Titian’s elaborate and grandiose funerary monument was inaugurated in the Venetian Church of the Frari, a tangible, concrete instance of the Sixteenth Century being constructed by its nineteenth-century successors. The long-overdue project owed its completion to the double arrogance of Hapsburgian pride and Italian nationalism in the nineteenth century. For each group, the memorial narrated the story of a different illustrious legacy, but for both Titian was a cipher of the multiple desires and anxieties experienced by nineteenth-century spectators standing before the spectacle of History. Departing from this specific example in Venice, this paper determines to what extent and for what ends the Italian Old Masters were being staged, dramatized and otherwise represented in nineteenth-century Italian visual culture.
|Title:||Plotting the Triumphal Arch in Titian's Tomb|
|Keywords:||Titian, Funerary monument, Venice, Artist tomb, Italian art|
|UCL classification:||UCL > School of Arts and Social Sciences > Faculty of Social and Historical Sciences > History of Art|
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