For Titian’s picture and Turner’s copy – and discussion of its theme and changing titles – see folio 25 of this sketchbook (
D04301). Turner’s comments continue on folio 23 verso (
D41518) but for convenience are transcribed here in full:
Titian and his Mistress | A wonderful specimen of his abilities as to natural color, | for the Bosom of | his Mistress is a piece of Nature in her | happiest moments. The Arm beauty | fully colour’d but rather heavy | and the Shadow perhaps too Brown | for the shadow of the Neck | which | appears to have been produced by | a body of grey colour over a rich | ground of the colours of the face strengthening [Finberg; then heighten’d] in the lights which are truly brilliant. The green drapery is glazd over a similar | color but the light really white as | they are cold (unlike the drapery of Joseph [continued on folio 23 verso] in the entombing of Jesus which has been | rather yellow’d first). The ground pervades | thro his Portrait and the red under is | Venetian and VR or Lake over his hands | are Bt. Sienna but her left hand is granulated | with minute colours and toucht with | brown and is not dependt. upon the ground | as the other parts of the picture, which | proves as well as the Hair over the white | drapery that he had some means of using | the ground colour as a Body or uniting | solid coloring with the ground although | I must confess I think it taken off | practically which gives the hand so | granite an appearance. The white drapery | is like this leaf but colder than the high | light a warm colour finely touch’d.
For Titian’s
Entombment to which Turner refers here, and his copy, see folio 32 (
D04315).
