Aretino and Michelangelo, Dolce and Titian: Femmina, Masculo, Grazia

Beginning in the late 1520s and continuing through the 1540s, professional jousting between Michelangelo and Titian was especially intense as both artists sought favor from the same patrons. Since the sixteenth century this competition has facilitated efforts to define their relationship in the cont...

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Bibliographic Details
Published inThe Art bulletin (New York, N.Y.) Vol. 82; no. 1; pp. 51 - 67
Main Author Jacobs, Fredrika H.
Format Journal Article
LanguageEnglish
Published New York, etc College Art Association of America 01.03.2000
College Art Association, Inc
Subjects
Aesthetics
Art criticism
Art history
Beauty
Competition
Cultural factors
Femininity
Masculinity
Michelangelo (Michelangelo di Lodovico Buonarroti Simoni) (1475-1564)
Patronage
Poetry
Renaissance art
Sculpture
Sense of touch
Somatosensory perception
Titian (1490-1576)
Visual artists
New York
Italy
Virginia
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Summary:Beginning in the late 1520s and continuing through the 1540s, professional jousting between Michelangelo and Titian was especially intense as both artists sought favor from the same patrons. Since the sixteenth century this competition has facilitated efforts to define their relationship in the context of the paragone: Michelangelo's disegno versus Titian's colorito. But in addition to noting stylistic differences, contemporary critics perceived similarities. In part, the "perfection of art" each demonstrates is an artful fusion of opposites, specifically, the union of masculinity and femininity. This study considers this aspect of Michelangelo and Titian's work within the larger cultural milieu.
ISSN:0004-3079
1559-6478
DOI:10.2307/3051364