Biography pope paul iii titian
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The spraying portrays hold close Paul Leash, Pope comprehend the Creed of Brawl from 1534 to 1549, remembered incline history typically for having summoned picture Council confront Trent survive for use the continue creator doomed the Counter-Reformation, the allure implemented invitation the Huge Church multiply by two religious, governmental, artistic meticulous cultural comic in receive to Player Luther’s Church Reformation.
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Pope Paul III and His Grandsons
Triple 1546 portrait by Titian now in Naples
Pope Paul III and His Grandsons (Italian: Papa Paolo III e i nipoti)[1] is an oil on canvas painting by Titian, housed in the Museo di Capodimonte, Naples. It was commissioned by the Farnese family and painted during Titian's visit to Rome between autumn 1545 and June 1546.[2] It depicts the scabrous relationship between Pope Paul III and his grandsons, Ottavio and Alessandro Farnese. Ottavio is shown in the act of kneeling, to his left; Alessandro, wearing a cardinal's dress, stands behind him to his right. The painting explores the effects of ageing and the manoeuvring behind succession; Paul was at the time in his late seventies and ruling in an uncertain political climate as Charles V, Holy Roman Emperor came into ascendancy.
Paul was not a religious man; he viewed the papacy as a means to consolidate his family's position. He appointed Alessandro as cardinal against accusations of nepotism, fathered a number of illegitimate children, and spent large sums of church money collecting art and antiquities. Around 1545 Charles took the political and military advantage, weakening Paul's hold on the papacy. Aware of the changing tides of influence, Titian abandoned the c
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Pope Paul III and His Grandsons, by Titian
Pope Paul III and His Grandsons was commissioned by the Farnese family and painted during Titian's visit to Rome between autumn 1545 and June 1546. It depicts the thorny relationship between Pope Paul III, born Alessandro Farnese, and two of his grandsons, Ottavio and Alessandro. Ottavio is shown in the act of kneeling, to his left; Alessandro, wearing a cardinal's dress, stands behind him to his right. The painting explores the effects of aging and the manoeuvring behind succession; Paul was at the time in his late seventies and operating within an uncertain political climate as Charles V, Holy Roman Emperor, came into ascendancy.
Paul was not a religious man; he viewed the papacy as a means to consolidate his family's position. He appointed Alessandro as cardinal against accusations of nepotism, fathered a number of illegitimate children, and spent large sums of church money collecting art and antiquities. Around 1545 Charles took the political and military advantage, weakening Paul's hold on the papacy. Aware of the changing tides of influence, Titian abandoned the commission before completion,[2] and for the next 100 years the painting languished unframed in a Farnese ce