Tarquin and Lucretia, c.1571 by Tiziano Vecellio Titian
Canvas Print - 9438-TTV
Location: Fitzwilliam Museum, Cambridge, United KingdomOriginal Size: 188.9 x 145.1 cm
Giclée Canvas Print | $57.33 USD
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*Max printing size: 41.3 x 31.6 in
*Max framing size: Long side up to 28"
"Tarquin and Lucretia" will be custom-printed for your order using the latest giclée printing technology. This technique ensures that the Canvas Print captures an exceptional level of detail, showcasing vibrant and vivid colors with remarkable clarity.
Our use of the finest quality, fine-textured canvas lends art reproductions a painting-like appearance. Combined with a satin-gloss coating, it delivers exceptional print outcomes, showcasing vivid colors, intricate details, deep blacks, and impeccable contrasts. The canvas structure is also highly compatible with canvas stretching frames, further enhancing its versatility.
To ensure proper stretching of the artwork on the stretcher-bar, we add additional blank borders around the printed area on all sides.
Our printing process utilizes cutting-edge technology and employs the Giclée printmaking method, ensuring exceptional quality. The colors undergo independent verification, guaranteeing a lifespan of over 100 years.
Please note that there are postal restrictions limiting the size of framed prints to a maximum of 28 inches along the longest side of the painting. If you desire a larger art print, we recommend utilizing the services of your local framing studio.
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If you select a frameless art print of "Tarquin and Lucretia" by Titian, it will be prepared for shipment within 48 hours. However, if you prefer a framed artwork, the printing and framing process will typically require approximately 7-8 days before it is ready to be shipped.
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Painting Information
Titian’s late work captivates with its unapologetically raw subject matter, and it is the urgency and vigor of his brush that first arrests our attention. Loose, dynamic strokes animate the drama, lending the scene an almost tangible immediacy. Painted when Titian was in his eighties, this brutal tableau defies any notion of waning talent in old age. A composite x-ray of the canvas has revealed multiple changes to the positioning of the figures, underscoring the artist’s unflagging determination to capture precisely the right interplay of gesture, force, and vulnerability.
At the very center of this drama, Tarquin’s body surges forward, dagger raised high. Lucretia, pressed against stark white linens, contorts in resistance, her arm flung upward in a futile defense. Meanwhile, a silent observer lurks behind the curtain, his inability—or unwillingness—to intervene feeling almost accusatory. We, as viewers, are left to grapple with our own form of complicity, drawn in by the painting’s sensuality yet appalled by its violence.
Color is vital to the painting’s emotional thrust. Tarquin’s garments seethe with a wealth of reds—his breeches and stockings practically blaze in the foreground, echoing the passion and aggression that drive his assault. The emerald drapery behind them swirls with undertones of red, binding the palette into a smoldering whole. In jarring contrast, Lucretia’s skin has a soft radiance, her tears glinting in the half-light, highlighting both her innocence and the stark horror of the crime.
Compositionally, everything in the painting converges on the brutal moment of Tarquin’s attack. Diagonal lines—the raised arm, the thrusting knee—drive the eye relentlessly to the clash of flesh and steel. Yet Titian tempers this explosive energy with a carefully considered balance of forms, ensuring that each corner of the canvas participates in the story. The swirling background curtain, capturing the momentum of Tarquin’s charge, prevents the eye from escaping and pulls our attention back to Lucretia’s anguished expression.
Beyond the sheer visual impact, Titian’s approach also nods to his engagement with European printmakers such as Heinrich Aldegraver, whose engravings on the same theme offered the Venetian master ample precedent—and, ultimately, material to surpass. This dialogue with northern sources, coupled with his own reputation for innovation, resonates with his promise to Philip II to undertake works of “much greater labor and ingenuity.” That dedication is borne out in every inch of this painting, which stands both as a testament to Titian’s enduring mastery and as a savage reflection on power, desire, and moral reckoning.
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