Neoclassical Representation Of The Woman In The Mirror Of Titian

This important portrait is an early recovery from the early 19th century, concerning the famous painting painted by Titian around 1512 - 1515 and preserved in the Louvre Museum. Our painting is a reinterpretation of a high quality of execution of which the treatise of the feminine face suggests the influence of the neoclassical current of the time. Our painting dates from the very beginning of the 19th century. It is presented in a large golden frame with palm leaves. Literature In this masterpiece of chromatic classicism, the harmony of the composition and colors of "Woman in the Mirror", exalts the beauty of the woman. In his representation, Titian gives the prototype of the feminine ideal characteristic of Venetian painting. The two mirrors, one of which is stretched by the man, allow the young woman to see face and back: this theme of reflection, invented by Giorgione, highlights the technical skill of the artist. This young Venetian dreamy and sensual, surprised during her toilet, holds with one hand her hair and the other a bottle of perfume. Standing, the body in front, she wears under a green dress with straps a pleated white shirt with a wide neckline that reveals her left shoulder. She is assisted by a man, bearded, dressed in a red doublet, who presents him with two mirrors, one front and one back. In a tight frame, the two figures occupy all the space. The classical composition is clearly read thanks to a harmonious rhythm where each form echoes the other. Thus, the oval shape of the face and the circular shape of the mirror respond to the curved lines drawn by the bare arm, the right sleeve, the curves of the shoulders and the cleavage. If Titian is still close to his master Giorgione, by the use of the rimwork in the foreground and the mirror, he moves away with his palette rich in bright colors and the subtle play of the effects of chiaroscuro, in especially in the red garment of the man who stands in the shadows. This youthful work reveals Titian's interest in the portraits of women whose charms he painted several times between 1510 and 1520. The slanted face, the blue eyes, the clear complexion, the bare shoulders, the blond, wavy hair and detached are all details that set the female ideal in Venice in the early sixteenth century. This fashionable theme will inspire many artists like Palma, Bordon and Savoldo.