The Venus of Urbino, 1538 Tiziano Vecellio Titian (c.1485-1576)

We create our paintings with museum quality and covering the highest academic standards. Once we get your order, it will be entirely hand-painted with oil on canvas. All the materials we use are the highest level, being totally artist graded painting materials and linen canvas.

We will add 1.6" (4 cm) additional blank canvas all over the painting for stretching.

High quality and detailing in every inch are time consuming. The reproduction of Tiziano Vecellio Titian also needs time to dry in order to be completely ready for shipping, as this is crucial to not be damaged during transportation.
Based on the size, level of detail and complexity we need 8-9 weeks to complete the process.

In case the delivery date needs to be extended in time, or we are overloaded with requests, there will be an email sent to you sharing the new timelines of production and delivery.

TOPofART wants to remind you to keep patient, in order to get you the highest quality, being our mission to fulfill your expectations.

We not stretch and frame our oil paintings due to several reasons:
Painting reproduction is a high quality expensive product, which we cannot risk to damage by sending it being stretched.
Also, there are postal restrictions, regarding the size of the shipment.
Additionally, due to the dimensions of the stretched canvas, the shipment price may exceed the price of the product itself.

You can stretch and frame your painting in your local frame-shop.

Once the painting The Venus of Urbino is ready and dry, it will be shipped to your delivery address. The canvas will be rolled-up in a secure postal tube.

We offer free shipping as well as paid express transportation services.

After adding your artwork to the shopping cart, you will be able to check the delivery price using the Estimate Shipping and Tax tool.

The paintings we create are only of museum quality. Our academy graduated artists will never allow a compromise in the quality and detail of the ordered painting. TOPofART do not work, and will never allow ourselves to work with low quality studios from the Far East. We are based in Europe, and quality is our highest priority.

The young woman reclines at ease across a cascade of white linen, her luminous body angled toward us while her face tilts in soft inquiry. Roses spill from her right hand - a casual emblem of Venus - and her left hovers with practiced modesty over the pubis. At the bed’s foot a small lapdog, oblivious to ceremony, curls into contented sleep, while beyond a sombre partition two maids root through a cassone for wedding finery, one testing the sumptuous gown’s weight against her shoulder. Through the loggia a Venetian dusk reveals marble column, distant sky, and the potted myrtle that silently anchors the mythic reference to bridal constancy.

Titian’s palette is at once restrained and opulent. The flesh is built from warm rose, mellow ivory, and faintly cool shadow, so that living skin appears to breathe against the sheet’s brittle whites. Deep emerald drapery, thick as theatre curtain, absorbs the light behind the figure, making the torso read as a luminous foreground plane. Russet brocade, vermilion skirt, and muted terracotta floor tiles relay the eye toward the alcove, while the small flare of blue in the gown reminds us of Venice’s chromatic love affair with lapis-derived pigment. The whole atmosphere is suffused with that mellow, reflective glow peculiar to oil glazes expertly superimposed.

Close inspection discloses the artist’s method: passages of almost granular impasto along the cushion’s embroidery - each knot catching a pinpoint of light - answer the liquid blending of shoulder into breast. The paint’s tactile variation orchestrates a material concerto: satin, skin, fur, stone. Titian’s brush, alternately supple and abrupt, models weight without contour reliance, allowing colour itself to shoulder the descriptive burden.

Composition pivots on diagonals that criss-cross the surface: the head-to-foot axis of the nude opposes the receding arcade, while the vertical screen slices space into intimate chamber and public antechamber. This calculated division permits the eye to shuttle between sensuous immediacy and narrative distance, underscoring the painting’s dual commitment to erotic invitation and civic ritual. The measured gaze of the reclining figure, locked to ours, completes the spatial circuit - a silent contract between beholder and subject.

Painted in 1538 for Guidobaldo II della Rovere, the canvas translates the classical Venus pudica into a thoroughly contemporary context, exchanging marble chill for warm Venetian domesticity. Within a republic where marriage was both private covenant and public transaction, Titian embeds allegory in tangible detail: roses and myrtle for love, loyal dog for fidelity, cassone and gown for dowry. Later placed in the Medici Tribuna opposite the antique Medici Venus, the work proposed an eloquent rivalry between idealised antiquity and modern sensual presence, affirming the supremacy of colore - that supreme Venetian duet of pigment and light - over sculptural line.