Portrait of Pope Paul III, Cardinal Alessandro Farnese and Duke Ottavio Farnese
Titian
Tiziano Vecelli or Tiziano Vecellio, the most important member of the 16th-century Venetian school.
Max Resolution:380×434 PX
Title:Portrait of Pope Paul III, Cardinal Alessandro Farnese and Duke Ottavio Farnese
Artists:Titian
Date:1546
Style:Mannerism (Late Renaissance)
Genre:portrait
Medium:oil,canvas
Location:National Museum of Capodimonte, Naples, Italy
Dimensions:210×176 cm
Copyright:Public domain
Pope Paul III and His Grandsons (Italian: Paolo III e i nipoti Alessandro e Ottavio Farnese) is a painting in oil on canvas by Titian, housed in the Museo di Capodimonte, Naples. It was commissioned by the Farnese family and painted during Titian's visit to Rome between autumn 1545 and June 1546. It depicts the thorny relationship between Pope Paul III, born Alessandro Farnese, and two of his grandsons, Ottavio and Alessandro. Ottavio is shown in the act of kneeling, to his left; Alessandro, wearing a cardinal's dress, stands behind him to his right. The painting explores the effects of ageing and the manoeuvring behind succession; Paul was at the time in his late seventies and operating within an uncertain political climate as Charles V, Holy Roman Emperor, came into ascendancy.
Paul was not a religious man; he viewed the papacy as a means to consolidate his family's position. He appointed Alessandro as cardinal against accusations of nepotism, fathered a number of illegitimate children, and spent large sums of church money collecting art and antiquities. Around 1545 Charles took the political and military advantage, weakening Paul's hold on the papacy. Aware of the changing tides of influence, Titian abandoned the commission before completion, and for the next 100 years the painting languished unframed in a Farnese cellar.
Pope Paul III and His Grandsons ranks as one of Titian's finest and most penetrating works. Although unfinished and less technically accomplished than his Portrait of Pope Paul III of a few years earlier, it is renowned for its rich colouring; the deep reds of the tablecloth and the almost spectral whites of Paul's gown. The panel contains subtle indications of the contradictions in the character of the Pope, and captures the complex psychological dynamic between the three men.
Alessandro Farnese, as Paul III, was the last of the popes appointed by the ruling Medici family of Florence. He was socially ambitious, a careerist and not particularly pious. He kept a concubine, fathered four children out of wedlock and viewed the throne as an opportunity to fill his coffers while he placed his relatives in high positions. A talented and cunning political operator, Paul was precisely the sort of man the Florentines needed to assist them in their defence against French and Spanish threats.
He became pope in 1534 when he was 66 years old, and immediately appointed members of his family to key positions. He anointed his eldest grandson Alessandro, the eldest child of his illegitimate son Pier Luigi, cardinal at the age of 14, marking a break with the Farnese tradition of marrying off the first-born to carry on the family name. This move was considered necessary because the next oldest grandson, Ottavio, was then just 10 years old; such a young cardinal would have been politically unacceptable. Paul's advanced years meant that the family could ill afford to wait until the younger brother was of age. Thus Alessandro became a cardinal deacon; this appointment did not necessitate taking major orders, but it compelled him to celibacy and to forgo the rights of primogeniture, which instead went to Ottavio. Alessandro was to bitterly regret the obligations. Paul appointed Ottavio as Duke of Camerino in 1538, and in the same year married him to Charles V's daughter, Margaret, later Margaret of Parma. Both of Paul's grandsons' advancements were widely criticised as evidence of nepotism.
Paul was not a religious man; he viewed the papacy as a means to consolidate his family's position. He appointed Alessandro as cardinal against accusations of nepotism, fathered a number of illegitimate children, and spent large sums of church money collecting art and antiquities. Around 1545 Charles took the political and military advantage, weakening Paul's hold on the papacy. Aware of the changing tides of influence, Titian abandoned the commission before completion, and for the next 100 years the painting languished unframed in a Farnese cellar.
Pope Paul III and His Grandsons ranks as one of Titian's finest and most penetrating works. Although unfinished and less technically accomplished than his Portrait of Pope Paul III of a few years earlier, it is renowned for its rich colouring; the deep reds of the tablecloth and the almost spectral whites of Paul's gown. The panel contains subtle indications of the contradictions in the character of the Pope, and captures the complex psychological dynamic between the three men.
Alessandro Farnese, as Paul III, was the last of the popes appointed by the ruling Medici family of Florence. He was socially ambitious, a careerist and not particularly pious. He kept a concubine, fathered four children out of wedlock and viewed the throne as an opportunity to fill his coffers while he placed his relatives in high positions. A talented and cunning political operator, Paul was precisely the sort of man the Florentines needed to assist them in their defence against French and Spanish threats.
He became pope in 1534 when he was 66 years old, and immediately appointed members of his family to key positions. He anointed his eldest grandson Alessandro, the eldest child of his illegitimate son Pier Luigi, cardinal at the age of 14, marking a break with the Farnese tradition of marrying off the first-born to carry on the family name. This move was considered necessary because the next oldest grandson, Ottavio, was then just 10 years old; such a young cardinal would have been politically unacceptable. Paul's advanced years meant that the family could ill afford to wait until the younger brother was of age. Thus Alessandro became a cardinal deacon; this appointment did not necessitate taking major orders, but it compelled him to celibacy and to forgo the rights of primogeniture, which instead went to Ottavio. Alessandro was to bitterly regret the obligations. Paul appointed Ottavio as Duke of Camerino in 1538, and in the same year married him to Charles V's daughter, Margaret, later Margaret of Parma. Both of Paul's grandsons' advancements were widely criticised as evidence of nepotism.