Multifaceted and avant-garde artist, a master of Tonalism and the leading exponent of the Venetian School, Titian is universally known for his masterpieces The Venus of Urbino (c. 1534) and Sacred and Profane Love (1514). His contribution to painting is based, above all, on a very personal use of colour, in particular of red, which with its chromatic solemnity contributes to the compositional grandeur of his paintings. A recently rediscovered work of his, once belonging to a series of European royalty, will go on sale on 11 May at the Viennese auction house Dorotheum, with an estimate of €1-1.5 million (£830,000 to £1.25 mil).
See also: Fire, Passion, Inspiration: Red Hair in Art
The Penitent Magdalene was one of the most commissioned subjects of Titian’s. Numerous copies and variations were produced by the artist and his workshop over a period of forty years. Some scholars believe the reason for these reproductions was Titian’s continuous search for perfection, while others say it was to provide clients with a personalised version of the theme.
See also: An Artistic Representation of Breasts Throughout the Centuries
In a first example dating back to 1531, kept in Florence at Palazzo Pitti, the woman is depicted with her half-naked body and breasts on display. However in the copy for sale at Dorotheum, probably made between 1550 and 1560, she is exhibition dressed, but nevertheless full of that sensuality mixed with exquisitely Renaissance modesty, typical of the works of the ancient master.
This Penitent Magdalene comes with an illustrious provenance, as it was once part of the prestigious collections of Queen Christina of Sweden (1629-1689) and of Philip, Duke of Orléans (1674-1723). Perhaps, even before that, the work was in the hands of the Holy Roman Emperor Rudolf II (1552-1612). It was considered lost after appearing at a Phillips sale at Thirlestane House, Cheltenham in 1859 and is now being auctioned by a seller whose grandfather had bought it from a private English collection. The painting was attributed to Titian by Professor Paul Joannides, professor emeritus of art history at Cambridge University, who examined the work and helped establish its provenance, according to Dorotheum.
Now, we only have to wait until 11 May to know the fate of this millionaire masterpiece.
