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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| Published in | The Art bulletin (New York, N.Y.) Vol. 82; no. 1; pp. 51 - 67 |
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| Main Author | |
| Format | Journal Article |
| Language | English |
| Published |
Taylor & Francis
01.03.2000
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| Online Access | Get full text |
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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. |
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| ISSN: | 0004-3079 1559-6478 |
| DOI: | 10.1080/00043079.2000.10786920 |