Assumption of Virgin. The Assumption of the Virgin or Frari Assumption is a large altarpiece panel painting in oils by the Italian Renaissance artist Titian, painted in 1515-1518.
It remains in the position it was designed for, on the high altar of the Basilica di Santa Maria Gloriosa dei Frari or Frari church in Venice. It is the largest altarpiece in the city, with the figures well over life-size, necessitated by the large church, with a considerable distance between the altar and the congregation.
It marked a new direction in Titian's style, that reflected his awareness of the developments in High Renaissance painting further south, in Florence and Rome, by artists including Raphael and Michelangelo. The agitated figures of the Apostles marked a break with the usual meditative stillness of saints in Venetian painting, in the tradition of Giovanni Bellini and others.
It was perhaps originally rather shocking for the Venetian public, but soon recognised as a masterpiece that confirmed Titian's position as the leading artist in Venice, and one of the most important in all Italy, a rival to Michelangelo and Raphael. The Assumption of Mary was a Catholic doctrine that remained optional in the early 16th century; it was not declared an article of faith until 1950.
The Franciscan order whose church the Frari is, were always keen promoters of this and other aspects of Marian theology, in particular the r
It remains in the position it was designed for, on the high altar of the Basilica di Santa Maria Gloriosa dei Frari or Frari church in Venice. It is the largest altarpiece in the city, with the figures well over life-size, necessitated by the large church, with a considerable distance between the altar and the congregation.
It marked a new direction in Titian's style, that reflected his awareness of the developments in High Renaissance painting further south, in Florence and Rome, by artists including Raphael and Michelangelo. The agitated figures of the Apostles marked a break with the usual meditative stillness of saints in Venetian painting, in the tradition of Giovanni Bellini and others.
It was perhaps originally rather shocking for the Venetian public, but soon recognised as a masterpiece that confirmed Titian's position as the leading artist in Venice, and one of the most important in all Italy, a rival to Michelangelo and Raphael. The Assumption of Mary was a Catholic doctrine that remained optional in the early 16th century; it was not declared an article of faith until 1950.
The Franciscan order whose church the Frari is, were always keen promoters of this and other aspects of Marian theology, in particular the r
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