Nymph and Shepherd

Blurred outlines that take shape only when viewed from a certain distance,particularly with regards to the motifs in the background, and a colour range fogged by a veil of grey are characteristic of Titian’s late period. The present painting, which is one of the artist’s last works, does not depict a specific scene taken from mythology or literature; its type is the pastoral, which evolved in Venetian art starring in 1500. A “shepherd”, ready to begin playing his flute, has approached the female figure from behind as she rests in the shade of a tree. He turns towards her while she looks over her right shoulder, equivocally smiling at the viewer. The “nymph” is reclining on a panther skin, which along with the goat climbing a barrentree-stump in the background symbolises lust. In the work of other artists as well, the reclining nude seen from the rear is often connected with depictions of Venus. Although the goddess does not set the theme, she adds another aspect of love to the Arcadian scene. Here painting demonstrates its potential to rival poetry. As in the early 16th century, the content is provided by the lyric poetry of the early modern era influenced by Petrarch: its fundamental motif is the desire for an ideal love affair that ultimately cannot be realised. © Cäcilia Bischoff, Masterpieces of the Picture Gallery. A Brief Guide to the Kunsthistorisches Museum, Vienna 2010