Self-Portrait

This partially unfinished self-portrait of Titian – one of only two authenticated self-portraits by this artist (the second hangs in the Museo del Prado in Madrid) – entered the Gemäldegalerie in Berlin in 1821. Prior to that, it was preserved in the Casa Barbarigo in Venice, presumably since 1581, when Titian’s son Pomponio Vecellio sold his house, together with its entire inventory, to Cristoforo Barbarigo. In 1815, it was purchased by Leopoldo Cicognara, and sold to Edward Solly almost immediately afterward.
The self-portrait shows a man, approximately 70 years of age, in profile. He wears a fur-trimmed, armless cloak, and has laid his right hand on the table, while the left hand rests on his leg. Standing out against his white shirt is a gold chain, a token of Titian’s elevation by Charles V to the nobility in 1533.
The dating of this painting has been much discussed. On stylistic grounds, however, it can hardly be dated earlier than the first half of the 1560s, a period when Titian produced, among other works, the Annunciation in San Salvador and Diana and Callisto. A reliance on external evidence seems risky and arbitrary. Referred to have been, on the one hand, the self-portrait executed for Paolo Giovio, which this intellectual purchased in 1549 for his museum in Como – on this basis, Jaffé (2003,
following Hope’s point of view) dates the Berlin self-portraits to circa 1546/47– and on the other the woodcut by Giovanni Britto which has been dated to 1550 on the basis of a letter written by Pietro Aretino. The work has also been dated on the basis of the putatively still youthful, powerful appearance of the painter, which seems rather implausible. Moreover, the self-portrait has been declared identical with a Titian self-portrait mentioned by Vasari in 1568, which the Tuscan writer admired in 1566 during a visit to Venice: “His own portrait, finished four years ago, very like him, and
a very beautiful picture.” That Vasari refers to the self-portrait as “finished” seems not to support this thesis, but account must be taken here of Vasari’s unreliability.
Falomir (2007–08) regards the unfinished painting as a souvenir (“ricordo”) of the original, sold to Giovio: a likeness that is unfinished except for the face, and would have made further replicas possible. Stylistically, the self-portrait corresponds to the execution and technique of the early 1560s: impasto paint application, rapid brushwork, and light-flooded pictorial surfaces are characteristic of the older Titian. He reworked his paintings so often, adding additional paint layers that they reveal
the diligence expended on them. As a result, his paintings seem quite lively and light, with the effortfullness of the creative process remaining concealed. As X-ray images have shown, the process of execution involved multiple phases; earlier on, for example, Titian wore a different head covering, and his facial features were more sharply delineated.
Titian’s strong presence in the Berlin self-portrait is accompanied by an impression of powerful charisma, which, however, contrasts with the artist’s own self-characterization: he depicts himself as a strongly introverted personality. Remarkable as well is the absence in this self-portrait of any allusion to Titian’s profession (canvas, brushes, palette …). Titian presents “the visual translation of his own ‘myth’”, which “he was capable of endowing with the singular accent of a living, human document”
(Falomir, 2007–08). For his self-portrait, Titian favored the mode of presentation that was customary for depicting intellectuals, an example being Raphael’s Tommaso Inghirami. According to Falomir (2007–08), both the sitter’s attire as well as his facial features clearly recall the bronze portrait bust of Lazzaro Bonamico by Danese Cattaneo (circa 1552/54). Roberto Contini | 200 Masterpieces of European Painting - Gemäldegalerie Berlin, 2019