Titian's Sacred and Profane Love

Anybody can provide accuracy; the role of the artist is to supply truth.

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Tuesday, 8 November 2011

Paul Doughton: When I am asked - even though I rarely am - exactly what it is that I do, I always have a sense of awkwardness about explaining my engagement with Renaissance art. In fact, my analytic interests are not exclusively Italian nor solely of the Renaissance period. Other distractions have been the symbolism of the Sun Temple at Konark in Orissa, (13th-cent. CE) located on the Bay of Bengal, India; and the Borobudur temple (9th-cent CE) in Java, Indonesia. It is never the beauty of the object alone, be it painting, sculpture, or architecture, but rather, it is the design aesthetic invested within an object or process which can further articulate the conceptual armatures over which the plastic forms of art are sometimes draped. Still, there has been one painting of the Italian Renaissance which has been the focus of my thoughts for some twenty-three years now, to understand in terms of structure, symbol, and sign: Titian's Sacred and Profane Love, c.1514, Galleria Borghese, Rome.

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