Hostname: page-component-78c5997874-s2hrs Total loading time: 0 Render date: 2024-11-09T14:34:32.628Z Has data issue: false hasContentIssue false

Titian's Pastoral Scene: A Unique Rendition of Lot and His Daughters

Published online by Cambridge University Press:  20 November 2018

Ruth Mellinkoff*
Affiliation:
Los Angeles

Abstract

Titian's drawing called Pastoral Scene or Landscape with a Sleeping Nude and Animals is no ordinary landscape, its unordinariness underscored by an unusual combination of elements, which I maintain reveals a new and unique version of Lot and His Daughters. I contend that the large, naked woman in the right foreground is one of Lot's daughters; the two small figures resting or sleeping beneath the trees are Lot and his other daughter; the thatched houses in the middle left represent the little town of Segor where Lot first fled; the sheep represent livestock that Lot brought out of Sodom, as do the boar and goat; the boar and goat, however, also serve as symbols of lust and lechery; and the distant city with burning buildings in the city's right quarter is Sodom. Titian's inventiveness created an iconographic variation of an ancient theme.

Type
Studies
Copyright
Copyright © Renaissance Society of America 1998

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Acquisitions 1985.”. Paul Getty Museum Journal 14 (1986): 234.Google Scholar
Barolsky, Paul. Infinite Jest, Wit and Humor in Italian Renaissance Art. Columbia, Missouri, 1978.Google Scholar
Bible moralise'e, a facsimile of the Osterreichischen Nationalhibliothek Codex Vindobonensis 2554. 2 vols. Commentary by Reiner Haussherr. Graz, 1973. Les Fastes du Gothique: le siecle de Charles V. Catalogue. Paris, 1981-82.Google Scholar
Friedlander, Max J. Early Netherlandish-Painting. 14 vols. Leyden, 1973.Google Scholar
Friedmann, Herbert. A Bestiary for Saint Jerome. Washington, DC, 1980.Google Scholar
Goldner, George. European Drawings. 1, Catalogue of the Collections. Malibu, 1988.Google Scholar
Goldner, George. European Drawings. 2, Catalogue of the Collections, addenda. Malibu, 1992.Google Scholar
Gothic and Renaissance Art in Nuremberg 1300-1550. Catalogue. New York, 1986.Google Scholar
Harrison, Jefferson C. The Chrysler Museum, Handbook of the European and American Collections. Norfolk, VA, 1991.Google Scholar
Hulse, Clark. “The Significance of Titian's Pastoral Scene.” The J. Paul Getty Journal 17 (1989): 2938.Google Scholar
Jacobowitz, Ellen S. and Stepanek, Stephanie Loeb. The Prints of Lucas van Leyden and His Contemporaries. Washington, DC, 1983.Google Scholar
James, M. R. Illustrations of the Book of Genesis. Oxford, 1921.Google Scholar
Kimmelman, Michael. “Drawing Collection Shows the Wisdom of Getty's Spending.The New York Times, 28 May 1993, Bl, 12.Google Scholar
Meiss, Millard. French Painting in the Time of Jean de Berry: the Late Fourteenth Century and the Patronage of the Duke. 2 vols. London, 1967.Google Scholar
Nikulin, Nikolai. Netherlandish Paintings in Soviet Museums. Oxford, 1987.Google Scholar
Oberhuber, Konrad. Disegni di Tiziano e della sua cerchia. Venice, 1976.Google Scholar
The Pierpont Morgan Library, Major Acquisitions 1924-1974, Mediaeval and Renaissance Manuscripts. New York, 1974.Google Scholar
Panofsky, Erwin. Problems in Titian, Mostly Iconographic. New York, 1969.Google Scholar
Rosand, David. Painting in Cinquecento Venice: Titian, Veronese, Tintoretto. New Haven, 1982.Google Scholar
Rosand, David. “Giorgione, Venice, and the Pastoral Vision.” In Places of Delight: The Pastoral Landscape, exh. cat., ed. Cafritz, Robert C., Gowing, Lawrence, and Rosand, David, 76-79; 81, n. 67. Washington, DC, 1988 Google Scholar
Rosand, David and Muraro, Michelangelo, Titian and the Venetian Woodcut. Washington, DC, c. 1976.Google Scholar
Rowland, Beryl. Animals with Human Faces. Knoxville, TN, 1973.Google Scholar
Sandler, Lucy Freeman. Gothic Manuscripts 1285-1385-2 vols., II catalogue. New York, 1986.Google Scholar
Settis, Salvatore. Giorgione's “Tempest“: Interpreting the Hidden Subject. Trans. Bianchini, Ellen. Chicago, 1990. [First published as La “Tempesta” Interpretata. Turin, 1978.]Google Scholar
Shaw, James Byam, Old Master Drawings from Chatsworth, catalogue for National Gallery of Art, Washington, DC, and other institutions. Washington, DC, 1970.Google Scholar
Shaw, James Byam, “Drawings from Chatsworth.” Apollo 119 (1984): 456-57, 459.Google Scholar
Smith, Susan. The Power of Women. Philadelphia, 1995.Google Scholar
Speculum humanae salvationis, Codex Cremifanensis 243 des Benediktinerstifts Kremsmunster. 2 vols. Commentary by Willibrord Neumiiller. Graz, 1972.Google Scholar
Strong, S.A. Reproductions of Drawings by Old Masters in the Collection of the Duke of Devonshire at Chatsworth. London, 1902.Google Scholar
Thomas, Marcel. Le psautier de saint Louis. Graz, 1970.Google Scholar
Von der Osten, Gert and Vey, Horst. Painting and Sculpture in Germany and the Netherlands, 1500 to 1600. Baltimore, 1969.Google Scholar
Walsh, John. “Acquisitions/198 5.” The J. Paul Getty Museum Journal 14 (1986): 177.Google Scholar
Warner, George. Queen Mary's Psalter. London, 1912.Google Scholar
Wethey, Harold E. Titian and His Drawings with Reference to Giorgione and Some Close Contemporaries. Princeton, 1987.Google Scholar
Wiel, Maria Agnese Chiaru Moretto. Titian Drawings. New York, 1990.Google Scholar
Wilson, Adrian and Wilson, Joyce Lancaster. A Medieval Mirror: “Speculumhumanae salvationis” 1324-1500. Berkeley, 1984.Google Scholar
Winzinger, Franz. Albrecht Altdorfer; Die Gemalde. Munich, 1975.Google Scholar