Pre-Felton works after Titian
Longstaff after Titian Entombment of Christ {1889} NGV [PA]
Masson after Titian Christ at Emmaus {1879} NGV [PR]
Rousselet after Titian Entombment of Christ {1879} NGV [PR]

Despite Titian’s status as the arch-colourist of the Renaissance era (by contrast with the linear clarity or disegno seen since Vasari as the hallmark of many of his Tuscan and Central Italian contemporaries), his compositions were often engraved, both in his own lifetime and later.

Longstaff’s NGV Travelling Scholarship canvas is based on the same Louvre original as Rousselet’s engraving (c.1675). For further details, refer individual entries.


For colore and disegno as opposite poles of Italian Renaissance art – a truism often reduced to a cliché – see e.g. Mark Roskill, Dolce’s Aretino and Venetian Art Theory of the Cinquecento, New York UP, 1968. The significance of colour in the art of Titian and his Venetian contemporaries and precursors, often discussed, is given thoughtful attention by Paul Hills, Venetian Colour, Yale UP, 1999