"𝑩𝑬𝑯𝑶𝑳𝑫 𝑨 𝑴𝑶𝑹𝑬 𝑭𝑨𝑰𝑻𝑯𝑭𝑼𝑳 𝑳𝑶𝑽𝑬𝑹" 𝐖𝐡𝐚𝐭 𝐓𝐢𝐭𝐢𝐚𝐧’𝐬 𝐦𝐚𝐬𝐭𝐞𝐫𝐩𝐢𝐞𝐜𝐞 𝐭𝐞𝐚𝐜𝐡𝐞𝐬 𝐮𝐬 𝐚𝐛𝐨𝐮𝐭 𝐬𝐩𝐞𝐞𝐜𝐡.

Tiziano born in Cadore, a small village at the foot of the Italian Alps, was a proficient Italian Renaissance painter who lived for roughly one century with an evolving painting style, and considered perhaps the most successful painter in history. Among his patrons were representatives of the Italian nobility, the state of Venice, a pope, three Holy Roman Emperors and the Kings of France and Spain, like the prudent Philip II, in whose kingdom “the sun never set”.

In this prestigious work, the god Bacchus and Ariadne, daughter of the king of Minos, dialogue in a moment of at-first-sight love. Having helped Theseus to vanquish the Minotaur, she was abandoned by Theseus on the shore of the island of Naxus. Once distraught she was, Bacchus came in her support. But what does this masterpiece have to with the spoken language?           

A first look may suggest that this canvas is an elaborated description of a classic tale, and indeed it is very detailed. But beyond this, it develops a narrative. Tiziano is telling us the story about Bacchus and Ariadne’s encounter, using sophisticated resources and skills. He integrated classical forms to the modern idiom of the Renaissance.

But to understand this idiom, we do need to consider the context when, where and how this masterpiece was produced. Literally, we have the context upon which he built the scene: the inspiration in a classical tale rarely represented until then, told by the poets Ovid and Catullus, translated into detailed characters with a rare variety of costly pigments, only available in Venice at Renaissance; the presence of cymbals, drums, and a precious ultramarine. Voice, color, movement and rhythm, Tiziano is dialoguing, eliciting thoughts and emotions from the viewer.

He did so, influenced by his context itself. Tiziano’s intent on outdoing his peers appears in this work: the importance of inner life (Raphael’s), the tridimensional figures (Michelangelo’s), and the development of his likely master’s pictorial technics to an extreme (Bellini’s). It is also curious to notice the presence of a pet and the cheetahs drawing Bacchus’ chariot. The small dog, probably a Duke of Ferrara’s court pet, and the cheetahs from his menagerie. The Duke commissioned the painter’s work, after trying Rafael and Fra Bartolomeo (both died) and Michelangelo, who did not deliver, as usual. For a more detailed explanation on this masterpiece and background, please visit nationalgallery.org.uk and enjoy a brilliant explanation from its curator. 

With a sense of play, his friendly with humanists (Tiziano was probably supported by learned people from the Duke’s court), abilities as a painter and erudition, we leave the place to his depicted Bacchus, leaping down from his chariot, and carrying Ariadne off as his bride: “Behold a more faithful lover”. She will become the constellation we see above her.