"Nymph and Shepherd" ( Italian. Ninfa e pastore ) - painting by Italian painter Titian (1490-1576), a representative of the Venetian school . Established in about 1570 . Stored in the collection of the Museum of Art History in Vienna (inventory number GG 1825).
| ||
| Titian | ||
| Nymph and shepherd . OK. 1570 | ||
| ital Ninfa e pastore | ||
| canvas, oil. 149.6 × 187 cm | ||
| Museum of Art History , Vienna | ||
| ( Inv. ) | ||
The picture was from the collection of the Archduke Leopold Wilhelm of Austria (1614-1662) since 1659 .
Description
The interpreters of this picture called various love couples from mythological pastorals, but none of them was completely convincing. According to the German historian of art Erwin Panofsky , the canvas is dedicated to the passionate love of Paris , the son of the Trojan king Priam , and the manor of Enona , the nymph of springs and streams. According to the myth, Paris threw a nymph in love with him, carried away by the queen of Sparta Helena , whom he stole and brought to Troy, which led to the war .
Paris and the nymph are depicted by Titian in the period of their love on a date under the tree. It is also likely that the iconography of this picture depicts the shepherd Daphnis and the nymph Chloe , because the canvas depicts a pipe, an instrument on which Daphnis learned to play with the god Pan . Cuddling together, lovers stand out against the background of a predominantly monochrome landscape . Light glare falls on a young man and woman, who in a gentle turn of the head wraps her eyes on the viewer.
It is established that the artist painted a picture for himself, and not to order. The painting belongs to a number of those that Titian called "poems" or "legends." The specific theme in them is inferior to the mystical vision of man in union with nature, which understands everything that happens in the picture. In recent years, Titian's career has been more than a choice of topic for a story, and was interested in a clear compositional arrangement of figures: the characters immersed in a mysterious and charming landscape remind him of what Gordione had borrowed from his studies. However, this work does not feel more clear lines and certain forms of those years, it is characterized by subtle impressions, more liquid strokes and a sense of reality that goes far beyond the poetic plot depicted.
Literature
- Wolfgang Prohaska. “Vienna Museum of Art History. Painting". - London: Scala Publishers, 2011. - 128 p. - ("Museums of the world"). - 7000 copies - ISBN 978-34-065-2756-2 .
- “Museum of Art History. Vein". Ed. Silvia Borghesi. = Kunsthistorisches Museum. Vienna. - / Trans. with it. - M .: CJSC “BMM”, 2007. - 144 p. - (Great museums of the world). - 3000 copies - ISBN 978-88-370-2769-8 .