1. Bacchus and Ariadne
Bacchus, god of wine, emerges with his followers from the landscape to the right. Falling in love with Ariadne on sight, he leaps from his chariot, drawn by two cheetahs, towards her. Ariadne had been abandoned on the Greek island of Naxos by Theseus, whose ship is shown in the distance. The picture shows her initial fear of Bacchus, but he raised her to heaven and turned her into a constellation, represented by the stars above her head. The programme for the series was probably devised by a humanist scholar in the service of Alfonso d'Este. The subject of Bacchus and Ariadne is derived from the classical authors Ovid and Catullus. The painting is one of a famous series by Bellini, Titian and the Ferrarese artist Dosso Dossi, commissioned for the Camerino d'Alabastro, (Alabaster Room) in the Ducal Palace, Ferrara, by Alfonso d'Este, Duke of Ferrara, who in around 1510 tried to include Michelangelo and Raphael among the contributors. Titian's painting was in fact a substitute for one with a similar subject which the Duke had commissioned from Raphael. Bellini's 'Feast of the Gods' for this room is dated 1514, and the three works by Titian were painted

2. Titian

4. Portraits of the wealthy to pay the bills

5. Self portrait

6. Works later in his career turn monochromatic following the death of his wife and the slow loss of his eyesight

7. Brushstrokes get looser

8. Pupils even see him painting with his fingers

9. This loose brushwork will influence upcoming painting styles

12. The Burial of Count Orgaz
El Greco
1586
The Burial of Count Orgaz
El Greco (Domenikos Theotocopoulos) “The Greek”

13. Trained in Italy and influenced by High Renaissance artists

15. His own style comes through in
Christ on the Cross Adored by Two Donors c Oil on canvas, 248 x 180 cm Musée du Louvre, Paris

16. Elongated figures
Blues in the dark stormy background

17. His own style comes through in
Christ on the Cross Adored by Two Donors c Oil on canvas, 248 x 180 cm Musée du Louvre, Paris

18. Tintoretto

19. St. George and the dragon c. 1555-58; Oil on canvas, 157. 5 x 100
St. George and the dragon c ; Oil on canvas, x cm; National Gallery, London

20. Christ at the Sea of Galilee c. 1575-80; Oil on canvas, 117 x 168
Christ at the Sea of Galilee c ; Oil on canvas, 117 x cm; National Gallery of Art, Washington

21. Christ and the Woman Taken in Adultery Oil on canvas, 119 x 168 cm Galleria Nazionale d'Arte Antica, Rome

22. Tintoretto The Last Supper 1594
Mannerism moves from the logic and reason of the High Renaissance to emotion and drama

23. The Last Supper 1592-94 Oil on canvas, 365 x 568 cm S
The Last Supper Oil on canvas, 365 x 568 cm S. Giorgio Maggiore, Venice

25. Christ before Pilate Oil on canvas, 515 x 380 cm Sala dell'Albergo, Scuola di San Rocco, Venice

26. Crucifixion 1565 Oil on canvas, 536 x 1224 cm Scuola di San Rocco, Venice

27. Crucifixion (detail) 1565 Oil on canvas Scuola di San Rocco, Venice

29. End wall of Sistine Chapel
Michelangelo’s
The Last Judgment
End wall of Sistine Chapel

30. Michelangelo even falls into the traps of Mannerism

31. Overly dramatic composition or arrangement

32. Overly muscular figures both male and female