A Man with a Quilted Sleeve (Ariosto), c.1510/12 by Tiziano Vecellio Titian
Canvas Print - 3180-TTV
Location: National Gallery, London, United KingdomOriginal Size: 81.2 x 66.3 cm
Giclée Canvas Print | $61.83 USD
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*Max printing size: 41.3 x 34 in
*Max framing size: Long side up to 28"
"A Man with a Quilted Sleeve (Ariosto)" will be custom-printed for your order using the latest giclée printing technology. This technique ensures that the Canvas Print captures an exceptional level of detail, showcasing vibrant and vivid colors with remarkable clarity.
Our use of the finest quality, fine-textured canvas lends art reproductions a painting-like appearance. Combined with a satin-gloss coating, it delivers exceptional print outcomes, showcasing vivid colors, intricate details, deep blacks, and impeccable contrasts. The canvas structure is also highly compatible with canvas stretching frames, further enhancing its versatility.
To ensure proper stretching of the artwork on the stretcher-bar, we add additional blank borders around the printed area on all sides.
Our printing process utilizes cutting-edge technology and employs the Giclée printmaking method, ensuring exceptional quality. The colors undergo independent verification, guaranteeing a lifespan of over 100 years.
Please note that there are postal restrictions limiting the size of framed prints to a maximum of 28 inches along the longest side of the painting. If you desire a larger art print, we recommend utilizing the services of your local framing studio.
*It is important to mention that the framing option is unavailable for certain paintings, such as those with oval or round shapes.
If you select a frameless art print of "A Man with a Quilted Sleeve (Ariosto)" by Titian, it will be prepared for shipment within 48 hours. However, if you prefer a framed artwork, the printing and framing process will typically require approximately 7-8 days before it is ready to be shipped.
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Painting Information
In early sixteenth-century Venice, portraiture was flexing its newfound muscles. Artists were just starting to treat sitters like fully formed individuals instead of stiff mannequins in their Sunday best. Enter a young Titian, eager to show off what he’d learned from his teacher Giorgione, while pushing the boundaries of how a portrait could engage with its viewer. “A Man with a Quilted Sleeve” is one of those works you can point to and say, “This is where it all changed.” It’s a painting that corners you visually, forcing a kind of dialogue - perhaps uncomfortable, definitely innovative, and forever influential. Even Rembrandt, a century later, would nod to this pose, as if acknowledging, “Yes, mate, I see what you did there.”
Let’s think about the composition first. The sitter’s body forms a stable, triangular mass, radiating calm solidity at the canvas’s center. But the head, that subtle twist of the neck, injects tension. He looks over his shoulder with a glance that’s far from passive - this is a confrontational encounter. The parapet at the bottom is not just a handy device for cutting off the figure; it anchors him in real space, breaching that invisible barrier between us and him. This trick, where the arm rests casually on a ledge and the sleeve thrusts into our zone, was quite the clever innovation, a move that makes this Venetian gentleman feel palpably present.
And what about that sleeve? Now blue, but originally more violet in tone, it has lost some of its original pigment-rich depth over time, giving us just a hint of what the painting once looked like fresh off Titian’s brush. The sleeve itself, quilted and voluminous, steals a good portion of the limelight. Titian painted over a pink ground, threading red lines through it, and although the red lake pigment has faded, it’s still luxuriously tactile. It’s as if Titian wanted to say: fabric can be a character too, not just a costume.
Technically speaking, this young Titian is already showing off his chops. He lets parts of the figure dissolve into the moody grey background, blending man and atmosphere to remarkable effect. No rigid outlining here - just a subtle merging of subject and setting that gives the painting an unexpectedly psychological charge. The sitter, likely a member of the Barbarigo family, belonged to Venice’s humanist circles and would have wielded influence in political and cultural spheres. Titian captures all that in a single, pivotal twist of the head and the meeting of eyes. It’s a crucial moment in portraiture’s evolution: the artist moves from rendering a likeness to orchestrating a more profound visual conversation, and in doing so, claims the future for himself.
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