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©
Thyssen-Bornemisza Collection, on loan at the Museu Nacional d'Art de Catalunya (MNAC)
Titian (Tiziano Vecellio)

The Virgin and Child

ca. 1540
Oil on panel.
37.5 x 31 cm
Thyssen-Bornemisza Collection, on deposit with the Museu Nacional d'Art de Catalunya (MNAC)
Inv. no.
407
(
1955.4
)
Not on display
  • Level 2 Permanent Collection
  • Level 1 Permanent Collection
  • Level 0 Carmen Thyssen Collection and Temporary exhibition rooms
  • Level -1 Temporary exhibition rooms, Conference room and EducaThyssen workshop
Level 2
Permanent Collection
1 2 3 4 5 6 7 8 9 10 11 12 14 13 15 16 17 18 22 19 20 21 23 24 25 26 27 28 29 Recommended start of the visitClassical rooms
1 14th Century. Early Italian Painting 2 15th Century. German and Spanish Painting 3 15th Century. Early Netherlandish Painting 4 15th Century. Italian Painting 5 15th and 16th Centuries. Renaissance Portraiture 6 16th Century. Villahermosa Gallery 7 16th Century. Italian Painting 8 15th and 16th Centuries. German Painting 9 15th and 16th Centuries. German Painting 10 16th Century. Netherlandish Painting 11 Tiziano, Tintoretto, Bassano and  El Greco 12 17th Century. Caravaggio and Baroque Painting 13 17th Century. Italian, French and Spanish Painting 14 17th Century. Italian, French and Spanish Painting 15 17th Century. Italian, French and Spanish Painting 16 18th Century. Italian Painting 17 18th Century. Italian Painting 18 18th Century. Italian Painting 19 Classical rooms 20 Classical rooms 21 Classical rooms 22 18th Century. Italian Painting 23 17th Century. Dutch Painting. Landscape 24 18th Century. French and English Painting 25 17th Century. Dutch Painting. Scenes of Daily Life and Interiors 26 17th Century. Dutch Painting. Landscape 27 17th Century. Dutch Painting. Portrait 28 17th Century. Dutch Painting. Landscape 29 19th Century. European Painting. Goya and Romanticism  
Level 1
Permanent Collection
30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 Postpop rooms Rodin room
30 18th and 19th Centuries. Transatlantic Relations 31 19th Century. American Landscape and Environmental Awareness 32 19th Century. American Landscape and Urban Life 33 Recovering the ligth. Restoration of Waterloo Bridge, by André Derain 34 20th Century. Expressionist Landscapes 35 20th Century. Expressionist Portraits 36 20th Century. The Language of the Body 37 20th Century. Urban unrest 38 20th Century. Flowers 39 20th Century. Pioneers of abstraction 40 20th Century. Popular flavor 41 20th Century. The Cubist Tradition I 42 20th Century. The Cubist Tradition II 43 20th Century. Abstract Utopias 44 20th Century. Dada and Surrealism 45 20th Century. Interwar Realisms 46 20th Century. American Abstraction I 48 20th Century. Post-ward American Art 49 20th Century. Post-ward European Figurative Art 50 20th Century. Informalisms 51 20th Century. Homo Ludens 52 20th Century. Pop Art 53 Postpop rooms 54 Postpop rooms 55 Postpop rooms 56 Postpop rooms Rodin Exhibition room
Level 0
Carmen Thyssen Collection and Temporary exhibition rooms
A B C D E F G H I J Hall Temporary exhibition rooms Access to Permanent Collection Entrance Access to Carmen Thyssen Collection Paseo del Prado Garden
A 17th and 18th Centuries. Old Masters B 19th Century. North American Landscape C 19th Century. French Naturalist Landscape D 19th Century. Impressionism E 19th Century. Monet and North American Impressionism F 19th Century. Gauguin and Postimpressionism G 19th and 20th Centuries. Neo Impressionism and its Wake H 20th Century. Early Avant-gardes I 20th Century. Between the Wars Painting. Cubism, Abstraction and Surrealism J 20th Century. North American Painting and Others • HALL
Level -1
Temporary exhibition rooms, Conference room and EducaThyssen workshop
Temporary exhibition rooms Conference room EducaThyssen Workshop
Prior to 1874 this Virgin and Child was in the Sciarra-Colonna collection in Rome, where it was seen by Crowe and Cavalcaselle who included it in their publication on Titian of 1877. The painting remained in that collection until 1874 when Francis Cowper acquired it in Rome. While it was in the Cowper collection it was lent to two exhibitions organised by the Royal Academy in London: the winter exhibition of 1881 and one on Venetian art held from 1894 to 1895. Together with other works from the Cowper collection, it was sold by the executors of Lady Desborough in an auction at Christie’s on 16 October 1953. The canvas was purchased by the London dealers Agnew’s, from whom it was acquired in 1956 by Baron Thyssen-Bornemisza. Following the two London exhibitions of the late 19th century, the canvas was not mentioned again in the scholarly literature until the mid-20th century when it entered the Thyssen Collection. In 1956, the year of its acquisition, it was included by Wilhlem Suida in a Miscellanea on the artist.

Both the attribution and the date of the painting have been debated. Suida considered it an autograph work and dated it to around 1520–30. Bernard Berenson did not include it in his list of Titian’s works published in 1957, while Philip Hendy considered it an autograph work of around 1540, publishing it as such in his study on various Italian Renaissance paintings in the Collection. In 1969 Rodolfo Pallucchini also stated it to be an original painting by Titian, as did Harold E. Wethey who considered it difficult to judge due to the overpainting present at that time. In 1980, however, Fritz Heinemann judged its rather naïve style to be the work of Titian’s son and collaborator Orazio Vecellio. Roberto Longhi considered it an autograph work by the artist in a commentary written the year of its acquisition.

As Hendy noted, the painting is the smallest known by the artist. Titian created the background from green curtains, against which he placed the Virgin who tenderly embraces the Christ Child. The use of colour is particularly striking and Titian used a limited range to construct the figures and background, both of which reveal extensive areas of single colours. The intense green of the curtains contrasts with the large patch of blue of Mary’s mantle, which spreads out to cover the chair. Green and blue contrast with the vibrant crimson of her tunic. The Virgin’s pose suggests the Rest on the Flight into Egypt in the collection of the Marquis of Bath while that of the Child recalls Titian’s canvas in the Alte Pinakothek, Munich. A print by Niccolò Boldrini of Venus and Cupid repeats this composition. In 1898 the painting was photographed by Brown while it was in England.

Mar Borobia
16th Century16th Century - Italian paintingPaintingOilpanel
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Private and/or didactic use
The Virgin and Child, ca. 1540
The Virgin and Child
Titian (Tiziano Vecellio)

©

Thyssen-Bornemisza Collection, on loan at the Museu Nacional d'Art de Catalunya (MNAC)

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The Virgin and Child, ca. 1540
The Virgin and Child
Titian (Tiziano Vecellio)

©

Thyssen-Bornemisza Collection, on loan at the Museu Nacional d'Art de Catalunya (MNAC)

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