Analysis: The Sacrifice Of Isaac
“Sacrifice of Isaac” by Tiziano Vecellio
Kimberly Duran
About the Work Tiziano Vecellio lived from 1488–1576 and was known as Titian, was the greatest Venetian artist of the sixteenth century, eventually gaining international fame. Titian contributed to all of the major areas of Renaissance art, painting altarpieces, portraits, mythologies, and pastoral landscapes with figures. In the piece titled, “The Sacrifice of Isaac,” Titian demonstrates his style in the use of oil on canvas. This painting of Abraham and Isaac is (328cm × 285cm) and was painted during 1542-1544. The work is linked to scripture from the Bible and is now in the church of Santa Maria della Salute in Venice. It was originally painted as a ceiling painting for the …show more content…
Santo Spirito in Isola where Titian painted two other works for that particular church.
From the Work Line In this work, Titian utilizes vertical and spiraling lines to create height such as the viewer’s glance is toward the towering angel that is stopping Abraham from actually sacrificing his son, Isaac. The lines create a focal point with the height and strength of Abraham on the peak of a mountain top where Isaac, his son is awaiting his death. The vertical and diagonal lines of the altar create a resting place where the viewer’s attention is drawn to the small face of the child who is bowed over looking away from his father. This is done by Abraham’s hand which is holding the child’s head down, and at the same time, the angel is grabbing the knife in Abraham’s hand. Abraham’s sight is on the angel who appears in the darkened sky in the background. The lines in this painting, as a unified work, create a sense of strength, determination, action, suspense and movement. Light and Value Abraham’s garments appear to have less value as his son’s garments because of the light that is directly shining on his back from what appears to be the morning sun. The darkened background from a terrible storm that is coming in the background highlights the content of the painting. The action in the painting of his darkened and sharpened knife appears to be a cold and lonely experience because of the darkened blue and gray coloring of the background. The light that is shining on the child and on the reddish color of Abraham’s skin and on the child’s garment reflect this suspense and expresses a struggle in carrying out this order on his child. The light also shines on a small lamb to the right of the painting giving it importance in this event. The implied pyramid shaped focal point of Abraham’s visual contact with the angel completes the content and focal point in this painting. Shape, Volume, and Mass In this work, Abraham’s muscular physic and realistic appearance are perfectly executed by Titian in that he utilizes shading and perspective of lines to give the painting a three-dimensional effect. Abraham’s masculinity is portrayed by the volume of his arms and legs that are firmly holding on to the knife and mountain top. The child and angel also have realistic shape and volume within the painting. Titian reveals in this painting by utilizing the implied volume and mass of Abraham’s defined muscular body against the horizontal lines clouds that occupies the space of the background. Although the angel’s face is not as visible as Abraham’s and Isaac’s, there is a clear distinction of his face and the mass of his body. As is Titian’s style in other works, he has depicted a realistic appearance within the art, through the shapes of the clouds, mountain, and even in the animals that attend this event. Space The relative size of Abraham in the foreground and atmospheric perspective create an illusion of depth in the painting. The negative space in the background is created with different shades of cooler gray and bluish-gray sky implies the greatness and the closeness of Abraham to the viewer. Titian executes this by textures of the mountains, garments, and his skin creates the illusion of three-dimensional space within this two-dimensional area of canvas. Abraham’s son Isaac also occupies the foreground with Abraham and appears to be in front of his father and slightly to the left. The horizontal sky that occupies the background implies the depth of the sky. Color Titian employs the use of different shades of gray in the background to suggest a gloom or suspense in the background of this painting. The use of whitish gray for Abraham’s hair helps to distinguish his head from the background and suggests Abrahams’ age in this biblical sense. Warm reds in Abraham’s and his son’s garments add a realistic effect to this scene in that the colors suggest life on this much dreaded day. In most of the painting, Titian uses the different shades of grade to differentiate the different content of this painting. There is the darkened brown mountain top, and the brownish black wood for the altar and the animals that are added in this painting are all pigmented shades of dark browns and grays. Because of the value of light that appears to shine from in front of the foreground gives an implied mass to this garment. It appears to be a heavy and rustic because of the different shades of red and green. All colors utilized in this painting were typical colors utilized during the Renaissance period. Texture The use of lines, color, and shading simulate a rough texture in this painting. Beginning with the cold rock of the mountain top, all the way to the rough appearance of Abraham’s legs and arms, the work has an overall roughness appearance. The garments that clothe Abraham and his son are rustic and give the appearance of wool. In the landscape of the painting contains rough ridges of mountain side and sharp twigs that sprout out from the stacked wood for the altar. Even the animals appear to be fuzzy and warm. The simulated texture of this painting appears to be that of a hard and rustic texture. Time and Motion The artist achieves the illusion of movement and the passage of time through strategic brush strokes. He uses these brush marks to create the illusion that the garments and hair are actually blowing in the wind from the brewing storm in the background. There is the illusion of movement in all elements of the portrait. The illusion of movement is also achieved by the angel’s attempt to stop Abraham’s clutched knife in mid-air as if the angel caught Abraham’s hand right before he made the thrusting movement downward towards his child. The movement through time of this painting was obtained also by the light that shines directly in front of the figures in this scene. The use of the negative space in the background also adds to the effects of motion in this painting.
Formal Qualities from the Work
Unity and Variety The Sacrifice of Isaac is a unified art piece in that the entire design supports its underlined theme. The colors and shading in the piece compliment each other in that each one highlights the other. Although the angel who appears from the spirit world into this world to intercede for Abraham’s child seems out of place, it is part of the elements that also unify the painting through its theme in the painting. All elements, although different in content assist each other to tell one story about a father who has been asked to sacrifice his only son. There is a donkey, a lamb, a child, the father, and an angel. All of these characters of the art piece are different, they offer unity in that they complete the theme, therefore are unified in content. Balance There appears to be assimilated balance in that all objects of the work are evenly distributed in order to make the painting seem balanced. Although the mountain seems to be more towards one side of the painting, the painting appears balanced in that the donkey occupies the opposite side of the painting. Also, the altar appears also on the right side of the painting, while the angel occupies the other side of the painting, at Abraham’s right hand. The viewer sees balance between the angel on the left side of Abraham’s right hand and the cloud soaked sky have one large lightened cloud on Abraham’s left side. The child’s weight is clearly defined as balanced evenly upon the altar as the child kneels in a triangular position. Abraham’s weight is asymmetrical in that his mass is in proportion, in line, and is balanced on both feet. His muscular legs give the firmness of this effect and give the illusion or sense of balance, while the other balances the weight of his body. Emphasis and Focal Point At the first gaze of the viewer at this painting, the eyes of the viewer tend to be pulled toward Abraham’s larger than life size and upwards toward heaven where the intervention comes for his son that also captures the viewer’s attention.
The view is from beneath, as if the viewer becomes part of the scene by scaling the mountain. As the viewer looks upward, there are two focal points. The first one is of Abraham, as he competes with the small helpless child that awaits his death there on the altar. The small delicate and innocent face of the child compete with the larger focal point in that the viewer feels compelled to look at him due to his helplessness, but at the same time is pulled to the action of implied movement of the struggle between Abraham and the angel. The emphasis being on what is going to happen and not what is before the viewer’s …show more content…
eyes. Rhythm The only rhythm that the viewer perceives in this painting is that of the clouds that appears to move in the background and that of the small child that remains silent and still. The rhythm of the clouds in the background, appear to move in time and therefore, causing a sense of hurriedness. As the clouds appear to move and the fast brewing storm in the background approaches, the viewer is compelled to feel the anxiety of the child who awaits the resolution of his ordeal. The still child also adds rhythm to this painting in that his movements are contrast to that of the action that is surrounding him. Scale The relative size of the figures in this painting is perceptible in that in comparison with other figures of the same nature, they are relatively the same in all figures except the angel. Since the viewer can not rely on visual perception alone, the viewer perceives the angel to be much smaller than Abraham’s size. So, in this painting, the viewer concludes that the angel must have been perceived by the artist of this size. All other objects and figures in the painting are normal. This is also why the sky in the background seems so far away. Due to the closeness of these figures in the foreground, the artist has achieved the atmospheric perspective of the depth of the darkened sky in the background. Proportion The proportions of all figures and objects in this painting are all of relative proportions. Although the viewer can not distinguish if the man, Abraham, who occupies the center of the painting, is that of the “canon of proportions,” his overall size is relative with that of his surroundings. The overall composition of the painting is that of relative proportion.
Another Work by Titian
The subjects of Titian’s paintings were the likenesses of princes, or Doges, cardinals or monks, and artists or writers, but according to The Metropolitan Museum of Art, Titian’s first major public commission in Venice, was the Assumption of the Virgin for the high altar of Santa Maria Gloriosa dei Frari (1516-18). This painting established his place as the leading painter of the city. Some critics of his time were uneasy with this painting because of the dimension in which it placed the Virgin. This piece was controversial in that it broke with doctrinal traditions and the rank of the figures (apostles). The three tier composition is that of Heaven, the Heavens, and the Earthly Realm. This placed the apostles on a different dimension in the spiritual world. This piece, although different in content, demonstrates Titian’s coherent style that he manifested in his paintings. The vivid colors, the captured details and characteristics of the figures, the extraordinary landscape in his paintings, and the flesh tones that are captured within the work are what distinguish Titian from in his contemporaries. Although the piece, Sacrifice of Isaac was not one of the most famous of Titian’s works, it displays most of his coherent styles.
Work of Contemporary Artist
Michelangelo Buonarroti was Titian’s contemporary, although not mentioned as to be his contemporary. They both were Renaissance masters with different choices of painting techniques. Michelangelo was the first Western artist whose biography was published while still alive. In this painting, David Beats Goliath, he demonstrates his choice of fresco painting. This painting for the Sistine Chapel in Vatican City is (570 × 970 cm) and was painted finished in 1509. Much like Titian, Michelangelo painted religious paintings that derived from Biblical scripture. He demonstrates his recurring style in this work. His preference of painting technique was with pure fresco. He despised oil-painting, though a few of his paintings were made in oil over tempera under painting. In comparison with Titian’s works, their styles and subjects vary in many ways due to their differences in theories on the different subject matter. Although Michelangelo was considered the greatest artist ever, Titian was considered the greatest Venetian artist of the sixteenth century, eventually gaining international fame.
Expressive Qualities from the Work In the work, Sacrifice of Isaac, Titian expresses his passion to depict the biblical scene as closely as he has interpreted. In this painting, the viewer is captured, first by the emotional action that is taking place. The color and shading add to the suspense of this painting. Abraham’s expression and that of his son, clearly define this tense and hurried event. The fact the angel is stopping Abraham is the only part of the painting as a whole that eases the tension within the painting. Titian in this particular work portrays the small child as a sacrifice in that he is actually using his painting as a metaphor and at the same time foreshadowing the Savior that is to come and be sacrificed for all mankind. Titian’s insight on this subject goes beyond his knowledge and brings out the hidden theme of this event through his great imagination, and his artistic abilities. About the Work According to The World History of Art, Titian 's early works are richly evident of his schooling and also of his association as a young man with another follower of the elderly Giovanni Bellini, namely, Giorgione of Castelfranco (1477–1510).
This artist was of great influence in Titian’s career as a painter. Giorgione influenced was influential for his tonal approach to painting and for his landscape style, which was atmospheric and evocative. Titian was also influenced in his choice of subject matter in that his commission developed from the derived from the patrons for whom he painted. The two artists worked in such a similar manner that the line between them has been hard to fix. Titian was also politically, religiously and psychologically influenced by his patrons whom he painted. Titian was considered the greatest Venetian artist of the sixteenth century, eventually gaining international fame. Titian is known above all for his remarkable use of color; his painting approach was highly influential well into the seventeenth century. Titian contributed to all of the major areas of Renaissance art, painting altarpieces, portraits, mythologies, and pastoral landscapes with
figures. The viewer can discern in the painting of this work and others a distinct painting style, though similar in content of this era, unique in technique. Although critics of the paintings done for the church of Santa Maria in Venice have thought to be the less popular of his paintings, they have done so because of the content, not the workmanship. This work, like many of his other works, demonstrate his unique painting style and manifest his abilities as an artist.
Works Cited
Buonarroti, Micaelangelo. David Beats Goliath. National Gallery of Art. National Gallery of Art, 2014. 10 Mar. 2014
Vecellio, Titiano. Biography. A World History of Art. A World History of Art, 2014. Web. 10 Mar. 2014. http://www.all-art.org/history230-9.html
Vecellio, Titiano. Biography. Art and the Bible. Art and the Bible, 2005-2014. Web. 12 Mar. 2014. http://www.artbible.info/art/large/670.html
Department of European Paintings. "Titian (ca. 1488–1576)". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000. http://www.metmuseum.org/ toah/hd/tita/hd_tita.htm (October 2003)
Vecellio, Titiano. Sacrifice of Isaac. National Gallery of Art. National Gallery of Art, 2014. Web. 8 Mar. 2014
Vecillio, Titiano. Web Gallery of Art. Web Gallery of Art, 2014. Web. 10 Mar. 2014.
Kimberly Duran
About the Work Tiziano Vecellio lived from 1488–1576 and was known as Titian, was the greatest Venetian artist of the sixteenth century, eventually gaining international fame. Titian contributed to all of the major areas of Renaissance art, painting altarpieces, portraits, mythologies, and pastoral landscapes with figures. In the piece titled, “The Sacrifice of Isaac,” Titian demonstrates his style in the use of oil on canvas. This painting of Abraham and Isaac is (328cm × 285cm) and was painted during 1542-1544. The work is linked to scripture from the Bible and is now in the church of Santa Maria della Salute in Venice. It was originally painted as a ceiling painting for the …show more content…
Santo Spirito in Isola where Titian painted two other works for that particular church.
From the Work Line In this work, Titian utilizes vertical and spiraling lines to create height such as the viewer’s glance is toward the towering angel that is stopping Abraham from actually sacrificing his son, Isaac. The lines create a focal point with the height and strength of Abraham on the peak of a mountain top where Isaac, his son is awaiting his death. The vertical and diagonal lines of the altar create a resting place where the viewer’s attention is drawn to the small face of the child who is bowed over looking away from his father. This is done by Abraham’s hand which is holding the child’s head down, and at the same time, the angel is grabbing the knife in Abraham’s hand. Abraham’s sight is on the angel who appears in the darkened sky in the background. The lines in this painting, as a unified work, create a sense of strength, determination, action, suspense and movement. Light and Value Abraham’s garments appear to have less value as his son’s garments because of the light that is directly shining on his back from what appears to be the morning sun. The darkened background from a terrible storm that is coming in the background highlights the content of the painting. The action in the painting of his darkened and sharpened knife appears to be a cold and lonely experience because of the darkened blue and gray coloring of the background. The light that is shining on the child and on the reddish color of Abraham’s skin and on the child’s garment reflect this suspense and expresses a struggle in carrying out this order on his child. The light also shines on a small lamb to the right of the painting giving it importance in this event. The implied pyramid shaped focal point of Abraham’s visual contact with the angel completes the content and focal point in this painting. Shape, Volume, and Mass In this work, Abraham’s muscular physic and realistic appearance are perfectly executed by Titian in that he utilizes shading and perspective of lines to give the painting a three-dimensional effect. Abraham’s masculinity is portrayed by the volume of his arms and legs that are firmly holding on to the knife and mountain top. The child and angel also have realistic shape and volume within the painting. Titian reveals in this painting by utilizing the implied volume and mass of Abraham’s defined muscular body against the horizontal lines clouds that occupies the space of the background. Although the angel’s face is not as visible as Abraham’s and Isaac’s, there is a clear distinction of his face and the mass of his body. As is Titian’s style in other works, he has depicted a realistic appearance within the art, through the shapes of the clouds, mountain, and even in the animals that attend this event. Space The relative size of Abraham in the foreground and atmospheric perspective create an illusion of depth in the painting. The negative space in the background is created with different shades of cooler gray and bluish-gray sky implies the greatness and the closeness of Abraham to the viewer. Titian executes this by textures of the mountains, garments, and his skin creates the illusion of three-dimensional space within this two-dimensional area of canvas. Abraham’s son Isaac also occupies the foreground with Abraham and appears to be in front of his father and slightly to the left. The horizontal sky that occupies the background implies the depth of the sky. Color Titian employs the use of different shades of gray in the background to suggest a gloom or suspense in the background of this painting. The use of whitish gray for Abraham’s hair helps to distinguish his head from the background and suggests Abrahams’ age in this biblical sense. Warm reds in Abraham’s and his son’s garments add a realistic effect to this scene in that the colors suggest life on this much dreaded day. In most of the painting, Titian uses the different shades of grade to differentiate the different content of this painting. There is the darkened brown mountain top, and the brownish black wood for the altar and the animals that are added in this painting are all pigmented shades of dark browns and grays. Because of the value of light that appears to shine from in front of the foreground gives an implied mass to this garment. It appears to be a heavy and rustic because of the different shades of red and green. All colors utilized in this painting were typical colors utilized during the Renaissance period. Texture The use of lines, color, and shading simulate a rough texture in this painting. Beginning with the cold rock of the mountain top, all the way to the rough appearance of Abraham’s legs and arms, the work has an overall roughness appearance. The garments that clothe Abraham and his son are rustic and give the appearance of wool. In the landscape of the painting contains rough ridges of mountain side and sharp twigs that sprout out from the stacked wood for the altar. Even the animals appear to be fuzzy and warm. The simulated texture of this painting appears to be that of a hard and rustic texture. Time and Motion The artist achieves the illusion of movement and the passage of time through strategic brush strokes. He uses these brush marks to create the illusion that the garments and hair are actually blowing in the wind from the brewing storm in the background. There is the illusion of movement in all elements of the portrait. The illusion of movement is also achieved by the angel’s attempt to stop Abraham’s clutched knife in mid-air as if the angel caught Abraham’s hand right before he made the thrusting movement downward towards his child. The movement through time of this painting was obtained also by the light that shines directly in front of the figures in this scene. The use of the negative space in the background also adds to the effects of motion in this painting.
Formal Qualities from the Work
Unity and Variety The Sacrifice of Isaac is a unified art piece in that the entire design supports its underlined theme. The colors and shading in the piece compliment each other in that each one highlights the other. Although the angel who appears from the spirit world into this world to intercede for Abraham’s child seems out of place, it is part of the elements that also unify the painting through its theme in the painting. All elements, although different in content assist each other to tell one story about a father who has been asked to sacrifice his only son. There is a donkey, a lamb, a child, the father, and an angel. All of these characters of the art piece are different, they offer unity in that they complete the theme, therefore are unified in content. Balance There appears to be assimilated balance in that all objects of the work are evenly distributed in order to make the painting seem balanced. Although the mountain seems to be more towards one side of the painting, the painting appears balanced in that the donkey occupies the opposite side of the painting. Also, the altar appears also on the right side of the painting, while the angel occupies the other side of the painting, at Abraham’s right hand. The viewer sees balance between the angel on the left side of Abraham’s right hand and the cloud soaked sky have one large lightened cloud on Abraham’s left side. The child’s weight is clearly defined as balanced evenly upon the altar as the child kneels in a triangular position. Abraham’s weight is asymmetrical in that his mass is in proportion, in line, and is balanced on both feet. His muscular legs give the firmness of this effect and give the illusion or sense of balance, while the other balances the weight of his body. Emphasis and Focal Point At the first gaze of the viewer at this painting, the eyes of the viewer tend to be pulled toward Abraham’s larger than life size and upwards toward heaven where the intervention comes for his son that also captures the viewer’s attention.
The view is from beneath, as if the viewer becomes part of the scene by scaling the mountain. As the viewer looks upward, there are two focal points. The first one is of Abraham, as he competes with the small helpless child that awaits his death there on the altar. The small delicate and innocent face of the child compete with the larger focal point in that the viewer feels compelled to look at him due to his helplessness, but at the same time is pulled to the action of implied movement of the struggle between Abraham and the angel. The emphasis being on what is going to happen and not what is before the viewer’s …show more content…
eyes. Rhythm The only rhythm that the viewer perceives in this painting is that of the clouds that appears to move in the background and that of the small child that remains silent and still. The rhythm of the clouds in the background, appear to move in time and therefore, causing a sense of hurriedness. As the clouds appear to move and the fast brewing storm in the background approaches, the viewer is compelled to feel the anxiety of the child who awaits the resolution of his ordeal. The still child also adds rhythm to this painting in that his movements are contrast to that of the action that is surrounding him. Scale The relative size of the figures in this painting is perceptible in that in comparison with other figures of the same nature, they are relatively the same in all figures except the angel. Since the viewer can not rely on visual perception alone, the viewer perceives the angel to be much smaller than Abraham’s size. So, in this painting, the viewer concludes that the angel must have been perceived by the artist of this size. All other objects and figures in the painting are normal. This is also why the sky in the background seems so far away. Due to the closeness of these figures in the foreground, the artist has achieved the atmospheric perspective of the depth of the darkened sky in the background. Proportion The proportions of all figures and objects in this painting are all of relative proportions. Although the viewer can not distinguish if the man, Abraham, who occupies the center of the painting, is that of the “canon of proportions,” his overall size is relative with that of his surroundings. The overall composition of the painting is that of relative proportion.
Another Work by Titian
The subjects of Titian’s paintings were the likenesses of princes, or Doges, cardinals or monks, and artists or writers, but according to The Metropolitan Museum of Art, Titian’s first major public commission in Venice, was the Assumption of the Virgin for the high altar of Santa Maria Gloriosa dei Frari (1516-18). This painting established his place as the leading painter of the city. Some critics of his time were uneasy with this painting because of the dimension in which it placed the Virgin. This piece was controversial in that it broke with doctrinal traditions and the rank of the figures (apostles). The three tier composition is that of Heaven, the Heavens, and the Earthly Realm. This placed the apostles on a different dimension in the spiritual world. This piece, although different in content, demonstrates Titian’s coherent style that he manifested in his paintings. The vivid colors, the captured details and characteristics of the figures, the extraordinary landscape in his paintings, and the flesh tones that are captured within the work are what distinguish Titian from in his contemporaries. Although the piece, Sacrifice of Isaac was not one of the most famous of Titian’s works, it displays most of his coherent styles.
Work of Contemporary Artist
Michelangelo Buonarroti was Titian’s contemporary, although not mentioned as to be his contemporary. They both were Renaissance masters with different choices of painting techniques. Michelangelo was the first Western artist whose biography was published while still alive. In this painting, David Beats Goliath, he demonstrates his choice of fresco painting. This painting for the Sistine Chapel in Vatican City is (570 × 970 cm) and was painted finished in 1509. Much like Titian, Michelangelo painted religious paintings that derived from Biblical scripture. He demonstrates his recurring style in this work. His preference of painting technique was with pure fresco. He despised oil-painting, though a few of his paintings were made in oil over tempera under painting. In comparison with Titian’s works, their styles and subjects vary in many ways due to their differences in theories on the different subject matter. Although Michelangelo was considered the greatest artist ever, Titian was considered the greatest Venetian artist of the sixteenth century, eventually gaining international fame.
Expressive Qualities from the Work In the work, Sacrifice of Isaac, Titian expresses his passion to depict the biblical scene as closely as he has interpreted. In this painting, the viewer is captured, first by the emotional action that is taking place. The color and shading add to the suspense of this painting. Abraham’s expression and that of his son, clearly define this tense and hurried event. The fact the angel is stopping Abraham is the only part of the painting as a whole that eases the tension within the painting. Titian in this particular work portrays the small child as a sacrifice in that he is actually using his painting as a metaphor and at the same time foreshadowing the Savior that is to come and be sacrificed for all mankind. Titian’s insight on this subject goes beyond his knowledge and brings out the hidden theme of this event through his great imagination, and his artistic abilities. About the Work According to The World History of Art, Titian 's early works are richly evident of his schooling and also of his association as a young man with another follower of the elderly Giovanni Bellini, namely, Giorgione of Castelfranco (1477–1510).
This artist was of great influence in Titian’s career as a painter. Giorgione influenced was influential for his tonal approach to painting and for his landscape style, which was atmospheric and evocative. Titian was also influenced in his choice of subject matter in that his commission developed from the derived from the patrons for whom he painted. The two artists worked in such a similar manner that the line between them has been hard to fix. Titian was also politically, religiously and psychologically influenced by his patrons whom he painted. Titian was considered the greatest Venetian artist of the sixteenth century, eventually gaining international fame. Titian is known above all for his remarkable use of color; his painting approach was highly influential well into the seventeenth century. Titian contributed to all of the major areas of Renaissance art, painting altarpieces, portraits, mythologies, and pastoral landscapes with
figures. The viewer can discern in the painting of this work and others a distinct painting style, though similar in content of this era, unique in technique. Although critics of the paintings done for the church of Santa Maria in Venice have thought to be the less popular of his paintings, they have done so because of the content, not the workmanship. This work, like many of his other works, demonstrate his unique painting style and manifest his abilities as an artist.
Works Cited
Buonarroti, Micaelangelo. David Beats Goliath. National Gallery of Art. National Gallery of Art, 2014. 10 Mar. 2014
Vecellio, Titiano. Biography. A World History of Art. A World History of Art, 2014. Web. 10 Mar. 2014. http://www.all-art.org/history230-9.html
Vecellio, Titiano. Biography. Art and the Bible. Art and the Bible, 2005-2014. Web. 12 Mar. 2014. http://www.artbible.info/art/large/670.html
Department of European Paintings. "Titian (ca. 1488–1576)". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000. http://www.metmuseum.org/ toah/hd/tita/hd_tita.htm (October 2003)
Vecellio, Titiano. Sacrifice of Isaac. National Gallery of Art. National Gallery of Art, 2014. Web. 8 Mar. 2014
Vecillio, Titiano. Web Gallery of Art. Web Gallery of Art, 2014. Web. 10 Mar. 2014.