Paradise (c. 1551-1554) as royal scenery: approach to La Gloria, by Titian, in the historical-biographical context of Charles V
Carlos Jesús SOSA RUBIO
Original title: El Paraíso (c. 1551-1554) como escenografía regia: aproximación a La Gloria, de Tiziano, en el contexto histórico-biográfico de Carlos V
Published in Returning to Eden
Keywords: Arianism, Charles V, Eschatology, Iconography, Propaganda, Religious Conflicts, Titian.
La Gloria, also called Il Paradiso by Tiziano Vecellio, its author, is perhaps the greatest pictorial creation that the Venetian created during his last years of service to Emperor Charles V. Although it has been defined as a work where the coexistence of the theological, eschatological and dynastic factors reaches the character of a paradigm, and even though its greatness goes beyond the format, there are still numerous doubts that hang around it, fundamentally related to the motif represented, the identity of quite a few characters and the reasons that led to their commission. This research compiles and expands some of the assessments made throughout the history of the canvas, trying to shed a light on doubtful aspects and, along with the religious and private motivations as the driving force of its commission, also allude to those of ideological roots, given the context of religious wars and turbulence of faith in which Titian executed his creation.
The evolution of color in Charles V’s portraits and its relationship with the imperial propaganda strategy: contributions from Titian
Carlos Jesús SOSA RUBIO, José Antonio MUÑIZ-VELÁZQUEZ
Original title: La evolución del color en la retratística carolina y su relación con la estrategia propagandística imperial: aportaciones de Tiziano
Published in Mirabilia Journal 31 (2020/2)
Keywords: Charles V, Maiestas, Portraiture, Propaganda, Titian.
The importance of the court portrait is decisive to understand the painting of the 16th century in its correct artistic and propaganda dimensions. Charles V was born into a family with very clear ideas in this regard. In him, as in few men and women in history, an evolution from the local factor to the global reality is perceived, which is reflection and consequence at the same time of a life that took him from the County of Flanders to being the most powerful ruler in the world. This paper analyzes the evolution of his effigy in the light of those events, as well as the role played by color in its consolidation, focusing in a special way on the contributions of Titian, the great architect of the imperial image that has survived to this day.
