Sunday, August 26, 2012

Interview with Titian

:: What did you find most appealing about your life spent in Italy?
T: The Alps of course, they were always there. Seemingly to be staring down at my brushwork, taunting the outlines and curvatures made from the bristles of my carefully weaved compositions. The snow itself was absolute chaotic boredom, but to watch a sunrise from the horizon of the Alps, you could see the mountains bloomed with eager anticipation of my each and every masterpiece.
:: Since nature was your closest admiration, what drove you to paint the immaterial and not nature in specific course?
T: Nature was always there, and was going to be there after my earthly departure; so in essence like a bad ex-girlfriend; I moved on. The immaterial was how I reached my audience of pagan prowess and Kings alike.
::Did you struggle with your audience?
T: My only audience to my paintings were my friends and family up till a point. It was after Leonardo DaVinci invented the hamburger that I realized I must further the art world into Biblical oblivion. It was soon after I painted " The Annunciation with Cheeseburger Eyes". DaVinci was pleased with this and found it purely consequential, unlike the Duke of Ferrar. The Duke was furious and sent the painting to Lincoln Mark VII (the reigning Caesar), who ultimately found it insulting. My payment was compensated only with a horde of empty potato sacks.
::Was that incident the turning point in your artistic career?
T: It wasn't THE turning point, but definitely a milestone.
:: What was THE turning point in your career?
T: Well I had two, actually. The first was when I moved to Venice, the second was when I visited Rome for an extended stay.
:: Why was your move to Venice so important?
T: It was where I spent most of life, working with artists and masters of Italian Classicism. The color there too was more so than that of the Italian countryside. The women dressed vibrantly and the water-filled city streets often reflected a million more colors. This could never be achieved by the dirt roads of Rome.
:: When did you realize Venice was under water?
T: While I was painting "Venus caught in a Bear Trap", my studio was slowly sinking into watery depths and that is when I realized I needed a floating studio. My lead studio assistant Carpaccio, he was up north and could not make the sudden trip to Venice. If you could imagine this caused a delay in my painting.
:: Was this a major setback for you?
T: Absolutely. We had to hang all of my paintings and unfinished compositions in trees. Keep in mind this was about 115 large scale works, if they were to beget water damage they were ruined. I burrowed out a hole in the top of an oak tree and lived there for about 6 months. I still managed to finish about 18 pieces, 6 of which are now in the headquarters at the National Wildlife Refuge of Venetian Forestry.
::What was your most lucrative commission?
T: The Cardinal Bishiop  of Orioleinio asked us to mural his cathedral mantlepiece. I hackled like a crow and swallowed a finch. His mantlepiece was a 1/4 mile long and 300 ft high. The preliminary sketches took the most part of a year. It two and half more to finish it. We designed a dyptych of 4 parts, "Madonna nesting with Big Bird", "Cupid: 40 years in the Wilderness of Migration", "Christ departing Jerusalem on an Ostrich", and "The Martyrdom of Saint Pollo".
:: Why did you make a career of painting?
T: It was really decided upon me as a child. My birth name given me is Tiziano, it means "Splashing Parades of Color". It was rather fitting, since, when I was 10 years old I happened upon a 3 month binge on what we called "Alpine Absinthe" I invented neon color, after that my father sent me to Venice as a student in hopes of apprenticeship. I eventually became the greatest painter in Italy.
:: So between ten years old and becoming the greatest painter in Italy was a long time, what obstacles did you overcome that other artists could benefit from your experiences?
T: After leaving the valley of Cadore , I was never quite the same. I grew up, became far too mature for my age. I had left my first apprenticeship with Zuccinitoe to work with Bellini, I reverted, tried living like as if I had missed a part of my childhood... This left a bad impression on Bellini. Not that he wasn't a well adjusted Venetian painter, but left a lapse of possible progression to the point that my painting suffered. As the genius that I am that was only a small bump in the road, so I guess I would tell young artists they should finger paint well into their 50s. No regrets.
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